The Georgia Straight - Zero Waste - Nov 8, 2018

NOVEMBER 8– 15 / 2018 | FREE

Volume 52 | Number 2652

KENNEDY STEWART

Mayor must address housing myths

ART D’ECCO

Artist comes into his own

CIRCLE CRAFT 300 artisans at Christmas market

Zero Waste Futurist Gerd Leonhard says don’t worry, be happy: there are tech solutions to the world’s most vexing environmental challenges

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CONTENTS

13 COVER

Thinker Gerd Leonhard believes the world can achieve a target of zero waste by using new technologies.

By Kate Wilson Cover photo by Stu Thomas

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11 MULTIMEDIA

Peabody-winning journalist Madeleine Baran has found new investigative range in the podcast form.

By Brian Lynch

16 STYLE

We preview some of the stylish artisans participating in the annual Circle Craft Christmas Market.

By Lucy Lau

19 ARTS

Prevent ȏ Act ȏ Support

For the centenary of the First World War’s Armistice, arts groups celebrate with music, inside and outdoors.

By Alexander Varty

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29 MUSIC

Former Vancouver indie-scene bit player Art d’Ecco has a new record, a new look, and a new address on one of the Gulf Islands, where he looks after his granny.

By Mike Usinger

e Start Here

12 BOOKS 17 THE BOTTLE 32 CONFESSIONS 23 DANCE 17 FOOD 31 I SAW YOU 27 MOVIE REVIEWS 35 SAVAGE LOVE 15 STRAIGHT STARS 22 THEATRE 25 VISUAL ARTS

e Online TOP 5

e Listings

26 ARTS 31 MUSIC

Vancouver’s News and Entertainment Weekly Volume 52 | Number 2631 1635 West Broadway, Vancouver, B.C. V6J 1W9 T: 604.730.7000 F: 604.730.7010 E: gs.info@straight.com straight.com

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Here’s what people are reading this week on Straight.com

1 2 3 4 5

Video tirade against Burnaby RCMP over Halloween fireworks Vancouver-raised actor Ryan Reynolds trolls Hugh Jackman—again The parallels between David Eby and Mackenzie King Patti Bacchus: Do we really need more special-ed assistants?

Vancouver council urged to consult on deferred rezonings

GeorgiaStraight @GeorgiaStraight @GeorgiaStraight

The Georgia Straight is published every Thursday by the Vancouver Free Press Publishing Corp. Copies are distributed free every week throughout Vancouver, Burnaby, North and West Vancouver, New Westminster, and Richmond. International Standard Serial Number ISSN 0709-8995. Subscription rates in Canada $182.00/52 issues (includes GST), $92.00/26 issues (includes GST); United States $379.00/52 issues, $205.00/26 issues; foreign $715.00/52 issues, $365.00/26 issues. Contact 604-730-7087 if you wish to distribute free copies of the Georgia Straight at your place of business. Entire contents copyright © 2018 Vancouver Free Press, Best Of Vancouver, Bov And Golden Plates Are Trade-Marks Of Vancouver Free Press Publishing Corp. SUBMISSIONS The Straight accepts no responsibility for, and will not necessarily respond to, any submitted materials. All submissions should be addressed to contact@straight.com.

Canadian Publications Mail Agreement #40009178, return undeliverable Canadian addresses to The Georgia Straight, 1635 West Broadway, Vancouver, B.C, V6J 1W9

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NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 5

OPINION Mayor needs to counter myths on housing crisis

by Charlie Smith

P Everything we value in life, they put on the line.

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Anyone can become a member. Join today. #OurDuty

legion.ca

eople have good reason to feel encouraged by the inaugural speech of Vancouver’s new mayor, Kennedy Stewart. At the swearing-in ceremony on November 5, he demonstrated an open mind, an open heart, and a willingness to work with people from across the political spectrum.

But here’s the problem facing Stewart as he fulfills his pledge to turn Vancouver into a “globalist city”, as opposed to a “globalized city”: the public believes that foreign buyers are the main cause of high home prices.

This was reflected in an Insights West poll in August asking respondents to evaluate a list of factors affecting the real-estate market.

The top four “primary causes”, according to the poll, were foreign homebuyers (84 percent), population growth (80 percent), shadow flipping (76 percent), and money-laundering (73 percent).

Other factors lagged far behind.

Municipal zoning laws were only cited by 63 percent of respondents.

Immigration was identified by 58 percent. Lack of available land checked in at 53 percent. Interprovincial migration was cited by 46 percent.

The polling company failed to ask about such things as sustained low interest rates, quantitative easing by the central bank, the millennial household formation rate, the transfer of equity from baby boomers to younger generations, B.C.’s strong economy, and the rising cost of construction.

What sensible housing analyst believes that shadow flipping is the third-biggest contributor to high housing prices? It’s absurd. But this widespread belief is possibly a factor in why nobody of Chinese ancestry was elected to council—something that clearly concerns Stewart.

The last mayor and council did a woeful job in countering public misconceptions about what’s driving up housing prices in Vancouver. They didn’t want to expend any political

Mayor Kennedy Stewart needs to unpack misconceptions about housing economics.

capital in going against the headwinds of public opinion.

According to a study by the Canada Mortgage and Housing Corporation, about three-quarters of the cause of Vancouver’s high prices was attributable to three factors: income, population, and mortgage rates.

Those are outside the jurisdiction of Vancouver city council. The remainder was related to the inelasticity of housing supply in Vancouver. This is linked to the shortage of land and municipal zoning—two factors that are well within the purview of city council.

Council can also attach conditions to rezoning approvals to influence affordability. The city can require all projects to be marketed first to local residents. In addition, council can affect the permitting process, which influences the cost of construction.

Stewart is correct when he says that Vancouver can be a globalist city with proactive strategies in shaping its destiny. But it’s going to require the mayor and councillors to do far more than their predecessors in countering widespread myths about housing markets.

Public education about real-estate economics should be near the top of the mayor’s agenda. Otherwise, Stewart and the councillors will repeatedly encounter opposition from those who blame foreigners every time the city tries to advance solutions.

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Remembrance takes many forms in Memory

A

by Charlie Smith

Our alumni are outstanding.

Since 1970, Langara’s campus has transformed into a thriving community of Langarans making a difference locally and globally. We are proud to honour the contributions of our 2018 Outstanding Alumni Award recipients Dustin Anderson, Charlene Seward, Tim Stevenson, and Charlene Taylor.

Learn more. beyond49.langara.ca

6 THE GEORGIA STR AIGHT NOVEMBER 8 – 15 / 2018

s Canada approaches the 100th anniversary of the end of the First World War on November 11, a great deal is being written and broadcast about that momentous event. The centenary of the first Remembrance Day has also prompted scholars to collaborate on a book called Memory, which explores how information is experienced, conceived, stored, retrieved, and sometimes forgotten.

Edited by Philippe Tortell, Mark Turin, and Margot Young for the Peter Wall Institute of Advanced Studies, Memory includes essays focusing on everything from genetics to astrophysics to Indigenous history.

A chapter by UBC anthropology professor Wade Davis, “Ecological Amnesia”, offers a reminder that passenger pigeons once accounted for 40 percent of North America’s bird population. Hunters slaughtered them in pursuit of food, and by 1900 the last one in the wild was killed.

Davis also recalls the devastation of the buffalo population, which outnumbered human beings in North America in 1871. According to Davis, they disappeared as a result of “a campaign of biological terrorism unparalleled in the history of the Americas”— more than 100 million were killed.

After considering why humans forget ecological holocausts of this magnitude, Davis reflects on what humanity can learn from Indigenous people’s relationship with the natural world.

In another essay, called “Global

1918”, UBC historians Tara Mayer and Pheroze Unwalla note that Remembrance Day commemorates peace in Europe a century ago. However, they emphasize that this was followed by far more aggressive colonialism. One of those betrayed by the Armistice was Mahatma Gandhi, who supported the British war effort.

After promising greater political independence, the British “cracked down on the nationalist movement in India as soon as the war ended”, Mayer and Unwalla write. “Under the guise of combatting sedition, they suspended habeas corpus, allowed indefinite incarceration, and sharply curtailed freedoms of assembly and the press.”

Five months after the first Remembrance Day, Col. Reginald Dyer ordered troops to fire into unarmed crowds in the Jallianwala Bagh garden in Amritsar, killing hundreds.

“Apparently, the lessons Europeans claimed to have learned from the ‘war to end all wars’ were not going to be applied beyond Europe itself,” the UBC historians write.

Other chapters include French computer scientist Serge Abiteboul’s examination of the immortality created by digitization, UBC education professor emeritus Jo-ann Archibald’s insights into Indigenous stored memory, and Université de Montréal historian Cynthia E. Milton’s look at memory through the prism of visual arts. It’s an interdisciplinary intellectual smorgasbord for anyone eager to investigate memory in a multitude of ways.

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NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 7

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ike many of his acquain­ tances, Eric Mendes was hesi­ tant about buying a home. “Everybody talks about ‘Oh, no, you have to wait. Some­ day the market is going to crash,’ �

Mendes recalled in a phone inter­ view with the Georgia Straight.

They believed that because prices were heading for a collapse sooner or later, that would be the right time to buy. “They are, like, years waiting, you know, for the crash. And, yeah, I was one of them,� the 38-year-old graph­ ic designer said.

But the longer he held out, the less he was convinced that he’d be better off. In January 2017, Mendes got himself preapproved for a mortgage, which turned out to be propitious timing.

The following summer, the Bank of Canada raised—for the first time in seven years—its key lending rate, which influences interest rates on mortgages. The increase, from 0.5 percent to 0.75 percent, was followed by four more hikes. On October 24 of this year, the central bank brought its benchmark rate to 1.75 percent.

More increases are anticipated. In announcing the latest adjustment, senior deputy governor Carolyn Wilkins indicated that the bank is looking at a rate of 2.5 percent to 3.5 percent down the road. “Right now, with the mortgage rates rising, I would not be able to qualify,� Mendes said.

Two months after getting pre­ approved, Mendes signed up realtor Richard Morrison. Mendes was rent­ ing in Vancouver, and with Morrison’s guidance, he began to gain more con­ fidence. The two are of a similar mind when it comes to personal finances.

Even before his mortgage preap­ proval, Mendes knew that his big chal­ lenge would be coming up with a down payment, so he saved all the money he could. He shared a car with a friend.

He brought lunch to work. The SĂŁo

Sambacouver’s Eric Mendes secured financing for his condo before borrowing costs rose.

Paulo native formed his own Brazilian band called Sambacouver so he could earn extra money playing in clubs and enjoy the free nightlife.

For his part, Morrison is an ad­ vocate of financial discipline. He wrote a chapter titled “Best Ad­ vice: Investment Is Sacrifice� in the book Real Estate Action 2.0 by Vancouver-based investment ad­ viser Ozzie Jurock.

In January this year, Mendes moved into a two-bedroom condo in Surrey’s fast-growing city-centre area, known traditionally as Whalley.

Meantime, Moody’s Analytics, a U.S.–based financial-intelligence company, issued a report in Octo­ ber 2018 stating that the Canadian property market is not about to suf­ fer from significant pricing declines.

In Surrey’s city centre, Fraser Val­ ley Real Estate Board figures show that the median price of condos has increased by at least 21 percent over the past year. In October this year, it was $419,500, compared to $345,500 for the same month in 2017.

Mendes, who is single, purchased his two-bedroom condo for less than last year’s median price of last year. He said that had he waited some more, he could not have af­ forded a similar property. “I am very glad and not looking back,� Mendes said.

F orum OF THE WEEK RAPID TRANSIT has a pro­ found effect on the urban land­ scape. Construction is scheduled to start for the Broadway subway in 2020, and there is a growing interest in what the extension of SkyTrain’s Millennium Line could mean to one of Vancouver’s oldest neighbourhoods.

The 5.7-kilometre line will pass under Mount Pleasant. In addi­ tion, one of its six stations will be located on Main Street near King­ sway, at the heart of the charming district. The Heritage Vancouver

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Speakers include newly in­ stalled Green city councillor Mi­ chael Wiebe, who owns the local Eight ½ Restaurant Lounge. The others are resident and transit user Alyssa Myshok, transportation expert Tamim Raad, and Much & Little clothing boutique owner Sarah Savoy. Heritage Vancou­ ver Society executive director Bill Yuen will serve as moderator.

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NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 9

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Organized by the Vancouver Art Gallery, an initiative of the Institute of Asian Art, and curated by Diana Freundl, Associate Curator, Asian Art.

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Visionary Partners for the Institute of Asian Art: Liu Bao, Wang Ying and Liu Manzhao With additional support from the IAA Development Committee: Angela Bi, Gary Chen, Amelia Gao, Shawn He and Yin Qing

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10 THE GEORGIA STR AIGHT NOVEMBER 8 – 15 / 2018

MULTIMEDIA

Podcast confronts the powerful

E

by Brian Lynch

ven before twittering demagogues turned public debate into a game of trolling, the decline of in-depth newsgathering was widely mourned. The ripple effects of shrinking newsrooms and budgets were clear.

“Those cutbacks have a very literal result,” notes Madeleine Baran, renowned investigative journalist and host of the Peabody Award–winning podcast In the Dark, on the line from her Minnesota office. “You don’t know as much as you used to as a listener or as a member of the public, because there aren’t as many reporters out there who can find stuff out. And so what our podcast hopes to show, and lots of other investigative reporting hopes to show, is the value of having that service in a democracy.”

Baran and her team have set out to prove this value by turning against the current. At a time when most cultural bets seem to be on the short and immediate, they’ve taken meticulous long-form journalism to what can only be described as an extreme— and to great popular response.

As she’ll describe when she appears at the inaugural Vancouver Podcast Festival, creating the 11part documentary that makes up the latest gripping season of In the Dark required Baran and four colleagues to move to the small town of Winona, Mississippi, for nearly a year.

They were there to pursue the weirdly shifting facts in the case of Curtis Flowers, a man tried and convicted no fewer than six times for a crime that has haunted Winona for decades: the unwitnessed slaying of four people in a family-owned furniture store on a summer morning in 1996.

“To us, what was interesting about it was not just like, ‘Wow, this is a lot of trials,’ but why did Curtis get tried that many times,” Baran says.

“Part of the answer was that, in the first three trials, every time he was convicted and he appealed, the court overturned his conviction because they said that Curtis didn’t get a fair trial. But the remedy for that was just another one.…What we came to realize and report on in this story is that there really is no one who is saying ‘Enough. Maybe we need to look at this prosecutor. Maybe this should stop’—that there is no check on it.”

That Flowers is black and the prosecutor in each of the six trials is white—with an apparent penchant for picking all-white juries—only deepened the dynamics. Indeed, as the listener follows Baran and her colleagues through their months on the ground in Winona, through hundreds of interviews and weeks of poring over mouldering records, the evidence that brought Flowers repeatedly to death row begins to creak and totter. And with that, says Baran, a larger issue emerges.

“A prosecutor has tremendous power, and in the United States at

DINE BIG

DA N C E B I G For the second season of the Peabody-winning podcast In the Dark, Madeleine Baran and her team moved to Mississippi for a year to investigate the strange case of Curtis Flowers.

the local level, the district attorney or county attorney is elected,” she tells the Straight. “These are elected officials who are often running unopposed who have the ability to charge you with a crime, or ask the jury in certain cases and places to have you executed. And so whenever as reporters we’re looking at a position or person or institution that has that much power, it’s often a really important area to direct resources, because the question obviously becomes ‘Is this person using their power responsibly? Is this system set up responsibly to be fair to people?’”

But don’t mistake the project for advocacy. An independent, impartial stance wasn’t just a matter of journalistic principle, but an essential method over their long stay in Winona. Without it, large parts of the community, and thus the story itself, would have been closed to them.

“We were very noticeable in the town—we were the public-radio people who were there reporting on the criminal justice system or reporting on Curtis Flowers’s case, and I think by being there for that

S AV E B I G

see next page

Podcast Fest

TIP SHEET

FROM THE FOLKS who bring you the annual DOXA Documentary Film Festival comes the new Vancouver Podcast Festival, running from Thursday to Saturday (November 8 to 10) and celebrating the medium with a loaded program of workshops, interviews, and shows at venues around town. The inaugural theme of “True Crime, True Justice” ranges from tough investigative reporting (see, for example, the interview with journalist Madeleine Baran on this page) to brash pop-culture breakdowns. Here are just three events to watch out for.

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UNCOVER: ESCAPING NXIVM (November 8 at the Rio Theatre) For 12 years, Vancouver actor Sarah Edmonson was a fervent member of the company NXIVM, and quickly rose to become its top recruiter. The organization was a strange mix of self-help philosophy and multilevel marketing, under the sway of a leader regarded by adherents as Christ-like. Of course, the truth turned out to be much,

much darker. Josh Bloch, host of this chilling CBC series and a childhood friend of Edmonson’s, joins Edmonson herself to tell a story of self-deception, fear, and sex trafficking.

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YOU MUST REMEMBER THIS (November 8 at the Rio Theatre) Karina Longworth offers a look behind the scenes of the hugely popular podcast she researches, writes, and hosts. Her subject: the secrets and lies buried in a century of Hollywood history—the dirt beneath the dirt. If you like a strong dose of glamour with your depravity, or vice versa, this series is your next long listening binge.

CRIMINALLY FUNNY (November 10 at the Rio Theatre) The local makers and stars of such hit shows as This Is That and This Sounds Serious roll out an evening of improv comedy satirizing the murdercase genre. What better way to give yourself a break from the heavy fact that all of the true crime you’ve been hearing about is, you know, true?

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DID YOU GET YOUR VOTING PACKAGE? Vote in the 2018 Referendum on Electora| Reform October 22 to November 30, 2018 B.C. is having a referendum on what voting system to use for provincial elections. This is a big decision so make sure to vote.

HOW CAN I VOTE? 5HJLVWHUHG YRWHUV KDYH EHHQ VHQW D YRWLQJ SDFNDJH LQ WKH PDLO ,I \RX KDYHQ¡W UHFHLYHG RQH FRQWDFW (OHFWLRQV %& E\ midnight on November 23, 2018 to ask for one.

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What are we voting on?

You are being asked:

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should we keep the current First Past the Post voting system or move to a system of proportional representation? if proportional representation is adopted, which proportional system do you prefer?

- Dual Member Proportional (DMP) - Mixed Member Proportional (MMP) - Rural-Urban Proportional (RUP)

You can answer both questions or just one and your ballot will still count. Find out more about all four voting systems by calling us or visiting our website.

Refer to information from all sides in the debate, make an informed choice, and remember to vote by November 30, 2018.

Deadline: You can ask for a referendum voting package until midnight on November 23, 2018

1-800-661-8683 | elections.bc.ca 12 THE GEORGIA STR AIGHT NOVEMBER 8 – 15 / 2018

d MICHAEL TURNER, a fixture in

the Vancouver arts scene, returns to poetry with 9x11 and other poems like Bird, Nine, X and Eleven. Best known for the 1995 poetry collection Kingsway, which documents the eponymous street, and the punk-odyssey novel Hard Core Logo, adapted into a mockumentary in 1996, as well as his collaborations with internationally acclaimed Vancouver-based artist Stan Douglas, Turner here turns a tender and intimate eye to disaster in our everyday lives, however ambient and small.

9x11 is a follow-up to 8x10, a novel published nine years ago that unravels as a series of modular snapshots covering addiction, war, and immigration. 9x11 is subjective and personal, unlike its predecessor.

The title refers not only to the events of September 11, 2001, which continue to fascinate and repel, but also to the dimensions of the room that Turner writes in. The book opens with a description of the room behind a bay window—“A single bed, a table and chair, and a sink�— and grows out into a fabric of tenants and the homes they live in.

In unpretentious and straightforward prose, Turner guides us into confronting the confusion and cacophony of the city, placing facts and speech beside images tuned in to critique. Consider “Synesthesia�, in which “coffee is no longer where it comes from but how� with “ethics you can taste, politics on the tip of your tongue�.

9x11 informs us as it relates to us.

For example, we learn that the houses known as Vancouver Specials had a labour-saving design based on dimensions of factory-produced sheets of plywood and that “buying a house is no longer putting in an offer and waiting, but screaming from the stock exchange floor.� These lines aren’t a far cry from a trip to despair, but while they bring us reality, they also bring warmth and vulnerability. In “Personal�, the poem that closes the collection, Turner writes: “If you are worldwide, sustainable, intentional and metaphysical, could we meet again, start over?�

One wants to say yes, not only because of the range of formal experimentation that will excite the arty types, but also because Turner’s frank, humble, and humorous voice transports us through the difficult present of housing in Vancouver, while considering the intimate work that goes into building relationships and the lasting magnetism of narrative and speech.

9x11 may as well be a guide to living in Vancouver right now.

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from previous page

long you can really build trust with people,� Baran points out. “Our job as reporters is to understand what’s going on, and so we have long conversations with Curtis’s family, we have long conversations with victims’ families of the murders,� she continues. “And in fact, I think one of the ways we were able to be as successful as we were in getting people to talk to us was because of that. One of the first things we would say when we showed up was ‘We’re not a lawyer, we’re not on either side. We don’t actually have a stake in this.’ Which is sort of a unique position to be in. Our job is to report the facts, to contextualize those facts, and then in a democracy to put that information out there.

And then everyone else gets to decide what they want to do about it.�

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The Vancouver Podcast Festival presents In the Dark on Friday (November 9) at the Rio Theatre; Baran takes part in the panel Podcasting and/as Journalism on Thursday (November 8) at the Vancouver Public Library’s central branch and hosts a masterclass Saturday (November 10) at the Post at 750.

HIGH TECH

Zero-waste world needs global unity Swiss futurist Gerd Leonhard says political cooperation essential to slow climate change

I

by Kate Wilson

t hasn’t been a good month for humanity. Four weeks ago, the UN Intergovernmental Panel on Climate Change (IPCC) released a widely publicized report detailing how the planet is on course to reach the crucial threshold of 1.5° C of warming as early as 2030—or, in other words, 12 years’ time. If we don’t transform our behaviour, extreme droughts, wildfires, floods, and food shortages—not t o mention enormous displacement of populations—will become the norm in our lifetime.

That future, however, is not a foregone conclusion. Different strategies are being explored by cities across the world, with green centres like Copenhagen, Amsterdam, and Reykjavík each running pilot projects to discover the best methods to reduce their ecological impact. One of the simplest and most cost-effective of these is the zerowaste initiative, and implementing what is known as a circular economy.

The language around the concept turns many people off, but the circular economy is an easy-to-understand idea, and one that experts suggest is fast becoming an ethical and ecological necessity. The system attempts to keep resources in service for as long as possible by designing products with materials that can be reused—a method at odds with our current process, where things are made, used, and disposed of. In order to build these creations and to power our day-to-day lives, the energy must come from renewable sources.

For Gerd Leonhard, a professional speaker who forecasts how technology will impact humanity, implementing a circular economy shouldn’t be something that limits consumption but, rather, offers exciting opportunities for innovation. The Zurich-based thinker, who will be providing a keynote speech this week at the Metro Vancouver–run Zero Waste Conference—a government-supported annual event that boosts the city’s image as one of the world’s greenest hubs— sees the development of new technologies as an important step toward environmental sustainability.

“We have a vast potential to solve many of the current issues,” he tells the Georgia Straight on the line from his home in Switzerland. “In the next 15 to 20 years, we could cover 100 percent of our energy needs through solar and wind, because the science

Gerd Leonhard says that along with international political will, business has to adopt a “postcapitalism” attitude to profits. Photo by Stu Thomas

is there. We can reach a point where desalination of water becomes cheaper than using water that we have now.

That’s also in the cards, and every week there’s news on that.…The same thing with food, where we can use vertical farming: farming in a highrise. Right now it’s too expensive and takes too much energy, but you can see that a high-rise of 30 floors, fully automated, could feed a whole town of 100,000 people. And with artificial meat. Richard Branson invested in that, in a company called Memphis Meat.…Then, in 10 years, we’re going to be able to make mobile phones and computers without using the minerals from mines like cobalt, because we’ll have nanotechnology. We’ll be able to substitute for those materials.”

Even five years ago, the importance of switching to a greener system was outweighed by the expense of the technology. Plastics, for instance—

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one of the most abundant materials in manufacturing—have previously been cheap to create. Made using derivatives of fossil fuels (primarily crude oil and natural gas), plastics are a component in everything from basketballs to fabrics, with few items being fully recyclable. In the near future, Leonhard says, innovations in material design combined with theincreasing difficulty of obtaining oil will finally make it cheaper to create cleaner products.

“Previously, one of the key problems with all of this is that we were saying ‘We should be doing this because it’s better; it’s ethical,’ ” he says. “But now we have a business case. Studies say that there’s going to be $72 trillion of damage from climate change in the next 30 years or so. Soon it will be cheaper to develop and buy the tech, so it makes sense. It makes money. It will also take money, but it’s much more

sensible than 20 years ago, when we were talking about the end of oil as a philosophical debate. Now all the oil companies are getting out, because it’s the end of oil in terms of profitability.”

There are, however, some caveats to Leonhard’s optimism. In order to implement a true circular economy and close the loop on externalities—the greenhouse gases and toxic chemicals released by creating unsustainable products—as well as offer solutions to the populations most affected by climate change, the world must undergo some cultural shifts. In his view, it’s impossible to reconcile the West’s current philosophies with the actions necessary to clean up the planet and keep vulnerable people alive.

Although new technologies might be profitable, he says, “What they will do is mean the end of the capitalist market. You cannot invest in a technology for desalination and not

EASTSIDE CULTURE

make it publicly available. We’re talking about a human asset here. If we sell these things like we sell Netf lix, there will be a huge disparity in the developing countries—more than we have now, even. The solution can’t just be an open market and saying that things will become cheaper because people are buying it. There’s not enough time for that.

This will be like the pharma companies. Their medication has a seven-year time frame before it can be copied for cheap. That’s what I call postcapitalism. It’s the realization that if we don’t switch to a ‘people, planet, prosperity’ paradigm, we will implode.”

Making the transition to a zerowaste future, it will take global political cooperation, Leonhard believes. While discussing the importance of businesses adopting a triple bottom line—measuring their success by social and environmental gains as well as financial profit— and governments supporting trade and stock markets that use these principles, he suggests that a lack of political will is the primary reason that climate change continues at an alarming rate.

“Every single politician needs to take a position on these two issues— digital ethics [creating technology for good rather than profit] and the circular economy,” he says. “If they don’t, then nobody should even consider them. I call this a driver’s licence for the future.”

In his Vancouver speech, Leonhard will suggest to the audience that a circular economy doesn’t just stop at reusing materials and switching to clean energy. Rather, it’s part of a larger conversation about automation, wealth distribution, and social equality.

“Human nature is that we only respond to something once we have created a big problem,” he continues.

“We responded to nuclear capabilities after we dropped two atomic bombs. Now we’re responding because there have been some very hot summers. We need to learn out of small problems, not big ones. We need to learn that we have to make everything sustainable.”

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The Zero Waste Conference is at the Vancouver Convention Centre West on Thursday and Friday (November 8 and 9).

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14 THE GEORGIA STR AIGHT NOVEMBER 8 – 15 / 2018

HOROSCOPE

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by Rose Marcus

ig news! Jupiter, the planet of increase and abundance, advances into Sagittarius, its home sign, on Thursday.

Get ready to welcome more or to feel overwhelmed by it.

Spending one year per sign, Jupiter targets the same part of your chart every twelve years for significant growth.

On the happy-making side, this is a buoyant, optimistic, freedom-loving, and often gifting transit. Always up for an adventure, Jupiter in Sagittarius is game for it and a pleasureseeking archetype.

On the what’s-it-all-about side, Jupiter has a feel that there must be more than this. It is intuitive, truth-seeking, moving beyond, and future-bound. Jupiter’s jurisdiction is the realm of beliefs, philosophies, speculation, religion, spirituality, and metaphysics. I believe, therefore it is so. As an inflationary or exaggeration influence, Jupiter can take the one thing and make it into the everything, take the one truth and make it the whole truth.

Jupiter on the move increases the hunt for more and better. Creative potential is in abundant supply.

Keeping the guesswork going strong for most of the year ahead, the lengthy Jupiter/Neptune transit also puts knowledge, beliefs, and faith to the test in a more substantial way.

A reality and a way of life are dissolving while the as-yet-unknown future gathers momentum.

Thursday/Friday, the Sagittarius moon puts more news and people on the go. Sales and speculative markets should see robust action.

Venus/Mars make for good communications and relating: business, social, or one-to-one. Apt for Remembrance Day long weekend, the moon tours Capricorn. Through Monday, pace yourself; aim to get it better organized or under better control.

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NOVEMBER 8 TO 14, 2018

LEO

July 22–August 22

The heart grows richer; the bank account can too. Jupiter in Sagittarius is one of your best hit-go, success-generating, happymaking transits. It’s excellent for the performer, athlete, artist, traveller, visionary, lover, teacher, consultant, or entrepreneur. On a cautionary note, it is important not to inf late, overextend, overindulge, or exaggerate. Stand in your truth; speak from your heart; follow your intuition.

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VIRGO

August 22–September 22

Now or soon, you’ll hit an inner-life or personal-life growth spurt. Of course, it is not entirely new. You have been working your way toward this next phase for quite some time. Jupiter’s one-year transit through Sagittarius can prompt a new home address or family life setup. Someone of significance can move away or come to stay.

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LIBRA

September 22–October 23

ARE YOU EIGHTEEN YEARS OR OLDER AND LOOKING FOR A MEANINGFUL VOLUNTEER OPPORTUNITY? Our Peer Support Services at JSA is now accepting applications for our Community Support Friendly Visiting Program As an introduction to senior peer counselling, our community support friendly visitor training program is being offered at no cost. Upon completion of the program you will get a certificate.

Gain skills in interacting with seniors in our community and increase your employment opportunities and personal growth. Upon completion of the course you will have learned active and empathetic listening, effective communication skills and become familiar with community resources for seniors Training will consist of five weekly consecutive sessions on Monday evenings from 4 pm – 7 pm for a total of 15 hours.

Upon completion of the training you will be matched with a senior to visit with in the community to apply your new skills.

Jewish Seniors Alliance is an inclusive organization and reaches out to all religious, cultural and ethnic groups.

We have a demand for volunteers from all diverse backgrounds including volunteers who speak Cantonese, Mandarin as well as English

For further information please contact CHARLES LEIBOVITCH at 604-267-1555 or 778-840-4949 email: charles@jsalliance.org

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Go explore. It’s time to take yourself or take it to the next level. Expand your knowledge base, repertoire, hands-on experience, and social network. Get your message out to a bigger audience. One way or another, Jupiter in Sagittarius provides you with ample fuel. Expect to stay physically active and to travel more, too. Adventures of the heart are also ahead of you.

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SCORPIO

October 23–November 21

As of Thursday, Jupiter leaves Scorpio for Sagittarius. This transit keeps you going strong but perhaps in a drop-anchor, build-itup-from-here way rather than a constantly triggered or hot-wired way.

Your best assets and resources can grow more substantially. Money is one thing, but it isn’t everything. InARIES vest in yourself and your happiness.

March 20–April 19 Aim for the long range.

There is further to go and more to explore. Jupiter’s one-year SAGITTARIUS tour of Sagittarius puts the fuNovember 21–December 21 ture into play in some major way.

Waiting to launch? No longYou feel it now; you’ll know it er. Mercury has recently entered later. The transit widens the dis- Sagittarius; as of Thursday, Jupiter tance between what was and where does the same. All systems go; time you are headed. Write; publish; to take flight. You’ll feel Jupiter as teach; perform; travel. Seek your a fresh energy, incentive, or activfortune; seek adventure; seek a ity surge. Use this next week to get heart quest. Jupiter’s transit holds yourself ahead while the getting is as great promise. good as it gets. Mercury retrograde begins at the end of next week.

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TAURUS

April 20–May 20

Want it, need it: how are you going to get it? Jupiter launches a search for more—for more money, fulfillment, love, et cetera. Plus or minus, the transit brings abundance.

For example, you can go deeper into debt or addiction, grow more alienated from your paycheque or your lover—or the opposite is true. Get a handle on it now.

GEMINI

May 21–June 21

If you are born near May 21, you’ll feel Jupiter in Sagittarius hit go now. If you are born later or toward the end of Gemini, then Jupiter’s full delivery is still en route. Even so, the transit wastes no time. Expect to hit a much fuller swing, socially and activitywise. Come or go, watch for someone or something to grow more significant.

CANCER

June 21–July 22

On the hunt for more work or a better paycheque? Now and over the longer haul, Jupiter puts opportunity on the increase. This one-year transit can also necessitate additional training or funding.

Don’t hesitate to branch out and explore a fresh avenue. Regarding health, repair work, or corrections, don’t ignore advice, warnings, or your own intuition. Be proactive.

Get it checked out.

CAPRICORN

December 21–January 19

Potentials are on brew. This fact may be obvious to you or not. Regardless, don’t ignore your feelings or those of the folks around you. When in doubt, put yourself in observation mode. Intuition serves you well. Now through next Wednesday, you’ll connect the dots well. Communications, relationships, activities, and plans run along a smooth track.

AQUARIUS

January 20–February 18

Mercury and Jupiter in Sagittarius set the daily action and your social life into a fuller swing.

Whether it is to do with the upcoming holidays or not, both transits can see you earn more and spend more, too. Over this next year, Jupiter can jettison your personal or professional life in a new direction.

PISCES

February 18- March 20

It’s been a long time in the works; now it is finally here. Jupiter in Sagittarius signals the launch of a new reality. Personal or professional, even a small step undertaken can produce big results. Over this next year, Jupiter favours new enterprises and initiatives, especially those that call to heart, to soul, to freedom.

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Book a reading or sign up for Rose’s free monthly newsletter at rosemarcus.com/.

NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 15

STYLE Circle Craft offers oneof-a-kind fashion finds

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by Lucy Lau

f a mad dash to the mall is the last thing you want to be doing on Christmas Eve, may we suggest pencilling Vancouver’s jampacked schedule of holiday markets onto your calendar? The fun kicks off with the Circle Craft Christmas Market, which will bring more than 300 artisans from across Canada to the Vancouver Convention Centre’s West building from Wednesday to Sunday (November 7 to 11). Below, we spotlight a few of our favourite fashioncentric vendors to look for.

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THIRTEENTH STUDIO Unable to deny the inscrutable lure of metalsmithing, Yeonji Anj Kim abandoned her plans to pursue a career in accounting after high school to major in jewellery and metal at the Alberta College of Art and Design. It turned out she had found her calling.

“It’s not just something that adorns people—it becomes part of their history and part of themselves,” the Seoul-born and Calgary-raised artist explains, when asked what draws her to accessories.

Now based in Vancouver, the 32-year-old runs Thirteenth Studio, her label of handcrafted pared-down jewellery. Preferring to use only sterling silver and gold, Kim dreams up statement bling for the self-described minimalist: delicate chokers adorned with a single disc-shaped pendant; shimmering shoulder-duster earrings; and chunky rings that are shaped as though they’re partially liquefied. Many of the items feature textured surfaces, like they’ve been weathered from years of wear.

Other Thirteenth Studio creations are more whimsical: the Casa Azul hoops, for instance, are made of hollow brass tubes that hold the stems of flowers so that the petals remain visible when the earrings are worn.

Find the budding designer’s full Thirteenth Studio range (from $50) at Circle Craft.

VOILÀ DESIGNS Sustainability is a theme that’s only recently come to light in the fashion world, but for Manitoba-based designer Andréanne Dandeneau, it’s always been part of her brand’s core identity.

Since its launch in 2005, Dandeneau’s Voilà Designs has been committed to environmentally minded practices. Ethically designed and manufactured in Winnipeg, the line of casual but work-appropriate womenswear—which includes items such as blazers, leggings, and wide-leg pants— uses natural, Canadian-made fibres.

Each piece is designed with comfort and a woman’s curves in mind.

In addition to its quality, ecofriendly threads, Voilà is known for its integration of Indigenous handicraft techniques and patterns. Dandeneau

Thirteenth Studio’s Frida Kahlo–inspired hoops may be worn alone or with flowers.

is Métis and her artist father, David, produces the label’s heritage motifs: nature-inspired prints that borrow from Northwest Coast Indigenous artwork and Plains First Nations symbols, which are then silk-screened atop T-shirts and bumwarmers. “Sometimes, I describe it as definitely a Métis look and people are like, ‘Well, what is Métis?’ ” explains Dandeneau, who will have Voilà’s full range (from $14 for accessories; from $40 for clothing) at Circle Craft. “It’s Aboriginal and Europe run together—and that’s exactly my style. You have this touch of Indigenous culture with French flair.”

BÉTON BRUT Saskatoon-based artist Amanda Nogier began experimenting with concrete bling during university, and four years later, she hasn’t looked back. The former graphic designer specializes in jewellery that uses the highly durable substance in places typically occupied by glittering beads or gemstones.

Offered under her brand, Béton Brut—a French term meaning “raw concrete”—the modern, minimalist pieces take after everything from art deco to elementary geometry, though each is heavily influenced by brutalist architecture.

The 32-year-old blends vibrant pigments into her concrete moulds, resulting in marbled slabs that are marked with swirling shades of blue, violet, and peach. Brass flecks are also incorporated into the concrete mixes, which complement the 3-D– printed brass hardware that Nogier designs and casts herself. From dramatic drop earrings to double-finger rings, each piece of Béton Brut jewellery is decidedly simple in form and totally one-of-a-kind. “I use a lot of geometric shapes because they work really well with concrete,” she says.

At Circle Craft, Nogier will have her entire jewellery line on hand (from $35), including a handful of nonconcrete items, and small décor objects like concrete vessels and candles (from $40).

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FOOD

Demystifying French pastries

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by Tammy Kwan

t can be argued that French pastries have always been regarded as the crown jewels in the baking world—notoriously difficult to perfect, but extremely rewarding when successfully accomplished. Beaucoup Bakery’s co-owner and pastry chef, Betty Hung, understands that the complexity of French baking can be intimidating, especially because this style of baking extends beyond ingredients and techniques. It also incorporates science, where every measurement and temperature plays a crucial part in the outcome.

Regardless of the high level of attention to detail and skills required for making French pastries, Hung was determined to demystify the baking process for amateurs. She does so in her new cookbook, French Pastry 101: Learn the Art of Classic Baking With 60 Beginner-Friendly Recipes.

This is Hung’s first cookbook, and saw her take on the responsibilities of baking, recipe-writing, and photographing each item. It’s not her first foray into writing and photography—she’s the founder of Yummy Workshop, a visually compelling blog dedicated to all things baking—but it was still a challenging task to juggle writing a book and running a bakery.

“After you have the recipe down, you have to make it again and style it and do the photos and edit it,” Hung

Beaucoup’s Betty Hung has a new cookbook, French Pastry 101. Photo by Yinger Wong

explained to the Georgia Straight in a phone interview. “I did it all at home, and the only reason I was able to do it was because I had a little background in graphic design. I was able to envision how I wanted it to be.”

French Pastry 101 features five dozen beginner recipes in nine chapters that highlight everything from cookies to cakes, and from tarts to twice-baked pastries. At the back of the book, Hung has written some notes about ingredients and

equipment that will help amateur bakers to better understand the process and science behind French baking. Things like chilling dough in the fridge or using room-temperature eggs can make all the difference when you’re attempting to bake for the first time.

“What sets my book apart is that I do go through the basics and science behind the techniques so people will have a bit more understanding of the baking process or why you need to get it to a specific temperature,” Hung said.

If you’re making French treats for the first time, she suggests trying out sablés Bretons, a classic French cookie with a buttery taste and sandy texture.

Other fan-favourite items in her cookbook include Paris-Brest, tarte au citron (lemon tart), twice-baked almond croissants, and gougères (cheese puffs made from chou dough).

Many of the recipes that Hung has included will take an hour or less, so readers won’t be spending an excessive amount of time in the kitchen. And if you’re worried about the flavours of certain French pastries, you could always stroll into Beaucoup Bakery for a taste test beforehand.

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French Pastry 101 ($32.95) is available at Beaucoup Bakery (2150 Fir Street), at various Indigo Chapters locations, and online.

Surprise awaits in Black Tower

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by Kurtis Kolt

case of wine samples arrived at my office the other day, a small handful of German wines.

Now, I’m a bit of a Riesling nut, so it was maybe three or four seconds between spotting the box and tearing into the thing. With visions of citrus-laden, mineral-driven wines that the package potentially contained, I cannot tell you the speed with which my heart sank when I pulled out the first bottle: Black Tower Dornfelder Pinot Noir 2016.

This must be a joke, yeah? I mean, Black Tower’s one of those wines only mentioned when you’re looking for a laugh.

“Hey, thanks for having us over for dinner. We brought wine for everyone; hope you like Black Tower!”

I mean, what’s next? Someone trying their luck by sending me a bottle of Mateus Rosé?

It is notoriously cheap and crazily accessible, usually on the bottom shelves of many a liquor store—and I can’t even recall the last time I’d tried Black Tower’s ubiquitous red. Certainly, it was many, many years ago, when I didn’t know much about wine. In my mind, I was imagining the wine would be awfully sweet—confected, even.

Well, it couldn’t hurt to give it a whirl, could it?

Knowing it was a lighter style of wine, I threw it in the fridge for a quick 10 to 15 minutes, as that’s the touch of chill I like to have on lighter reds like Gamays and Pinot Noirs.

Into the glass it went; I gave it a quick spin and then a hearty slurp.

Um… It was good.

Is that possible? Maybe I was bracing for the worst, and when it wasn’t the worst, I mistakenly thought it was pretty good?

Nope. Further sips confirmed it was indeed tasty. Violets and baking spices filled the aromatics, while the palate carried some gentle red plums, blackberries, dark cherries, and a fine dusting of cocoa. The acid made for lively juiciness, and the affable, lengthy finish was quite dry.

I honestly felt the wine was so fresh, expressive, and kinda geeky that they could slap on a quirky label with a crude cartoon on it, charge twice the price, and all the cool millennial natural-wine-focused wine nerds out there would flock to it.

In fact, I casually blind-tasted a couple local sommeliers

on the wine, and although no one was blown away by it, the wine was received as a fresh and honest drop, definitely worthy of attention. Unveiling it after garnering these opinions was, obviously, a hoot.

So, it’s not a cool-kid wine—far from it. But for a light and tasty $12.99 old-school bottle (that happens to be $1 off at B.C. Liquor Stores until November 24), does it deliver?

Hell, yeah!

It was one of those times I was happy to be put in my place, and it was a good reminder that there’s no need to be that highfalutin wine guy full of assumptions and harbouring dismissive tendencies.

This story would likely end here were it not for a wine dropped off to my office mere hours ago as I wrote this.

No word of a lie, it was a single bottle in a nondescript box: Sogrape’s Mateus “The Original Rosé” (Portugal; $9.99, B.C. Liquor Stores).

Hey, I don’t know if my thoughts and folly were somehow being recorded, but the stars obviously aligned so that I was on the receiving end of yet another old-school wine that gets joked about on occasion.

The reason the wine was being dropped to local media was a package redesign for this famously fizzy pink wine that dates back to 1942. The iconic round, hip-flask shape is intact; the label is just a little brighter and clean. Baga, Rufete, Tinta Barroca, and Touriga Franca are the four red varieties composing the blend, pressed and fermented in stainless steel to retain freshness. Cream soda and strawberries are distinct on the nose, with cranberry juice, fresh raspberries, Rainier cherries, tarragon, and thyme cruising along the palate.

It finishes off-dry, but by no means too sweet. A fun, enjoyable wine. My instincts for food pairings go everywhere from spicy Thai curries to Buffalo chicken wings to kettle-cooked jalapeño-flavour potato chips.

I can imagine it easily handling the roast turkey that’s prone to hit the table this time of year, or served as an apéritif alongside salty, deep-fried hors d’oeuvres.

Also, 10 bucks. That’s amazing! And at 11 percent alcohol, you won’t find yourself exhausted after a glass or two, or three.

So, here we are.

I guess it’s true what they say. Although fashions may come and go, the classics never go out of style.

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arts

Marking remembrance through music

Three different concerts explore tragedy, peace, and even the sounds of marching and warfare

I

by Alexander Varty

t is not, Mark Haney readily admits, anything like being in the trenches of Flanders, with the smell of putrefaction in the air, rats scrabbling beneath the duckboards, and shrapnel zinging overhead. In fact, Mountain View Cemetery is quite a restful place—almost an urban oasis, especially on a crisp fall morning. Nonetheless, the artistic director of the Little Chamber Music Series That Could won’t be deterred by rain on Remembrance Day, because a deluge will only amplify the sentiments of his Centum Corpora, a new work for massed brass that honours 100 of the First World War dead now lying under the cemetery’s sod.

“Obviously, I’m hoping for a nice, sunny day; that would be great,” Haney says, in a telephone interview from his East Vancouver home. “But it might even be more poignant if it’s bad weather, ’cause it will capture some tiny little shred of what the people we’re representing went through.

“A tiny little shred,” he stresses. “I’m certainly not making a direct connection between playing a brass instrument and being in the trenches.”

Indeed, there can be no comparison. And yet, when the battles are over, art can bring some consolation to the survivors, and that’s the thinking behind a number of concerts scheduled for this weekend—and to coincide with the 100th anniversary of the end of the First World War. Centum Corpora, whose Latin title translates as “100 bodies”, plays off that centenary in both its structure and its solemnity. With the martial rhythms of field percussion keeping the beat, 100 instrumentalists—convened with the help of the Homegoing Brass Band—will play a sequence of notes representing the names of the dead, the numbers of their regiments, and the dates of their deaths.

“The hope is that this just becomes very meditative,” Haney says. “It’s certainly got a bit of a marching feel.

I’m not really trying to emulate anything, but I definitely want that feel there, like an army marching across France or England in the First World War at a relentless, steady pace. And then the hope is that after the 100 repetitions, the silence that follows will just be deafening.”

CHOR LEONI’S REMEMBRANCE Day performances are staged indoors, but for this year’s When There Is Peace: An Armistice Oratorio, composer Zachary Wadsworth has been tasked

Left to right, new VSO music director Otto Tausk leads Stabat Mater; a soldier’s gravestone at Mountain View; composer Zachary Wadsworth.

with bringing a sense of the soldier’s experience to the stage, in service of an assortment of poems, letters, and frontline memoirs from the First World War. In an earlier choral piece, To the Roaring Wind, Wadsworth brought both tempests and zephyrs into the concert hall, but this, he says, requires greater care, and greater precision.

“I always want to paint a visceral sense of place, and of course there’s no more visceral place than the trenches of this war,” the 35-year-old composer says, on the line from New York City.

“But of course, it’s tricky. When you say ‘wind’, my mind goes immediately to obvious timbral ideas. But in this piece, how do you create the sound of that

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kind of isolation, of that kind of moisture, of that sense of being trapped?

“Having percussion—we have two percussionists in the piece—allows us to bring in really vivid and often very loaded sounds, like snare drums, for example, or church bells,” he continues. “Those sounds have very obvious musical meaning, and extramusical meaning. But other than that, in this piece you hear the sounds of soldiers marching; we use the bodies of the members of the chorus to create distant marching sounds at a time when a soldier is having a flashback to friends he lost, marching in the war.”

By conjuring an empathy with

Arts TIP SHEET THE CEASEFIRE SERIES (To November 17 at the Cultch’s venues) Three provocative new plays examine the toxic effect of war in theatrically compelling and media-smart ways. Don’t miss The Believers Are But Brothers (see review on page 22), a surprising investigation of the forces that radicalize young British Muslims, which closes on Saturday (November 10) at the Vancity Culture Lab. Running a day longer at the York Theatre,

the Belgium–U.K. production SmallWaR features a bravura performance from Valentijn Dhaenens, who embodies a dying soldier—and his nurse— as they negotiate the worth of his death. And, after that, Amiel Gladstone’s Three Winters riffs on Shakespearean text while travelling through the present, the recent past, and a Second World War prisoner-of-war camp—with an all-woman cast.

It’s up at the Historic Theatre until November 17.

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the soldiers’ plight, Wadsworth and Chor Leoni artistic director Erick Lichte—who assembled the libretto with Peter Rothstein—hope to strengthen our desire for peace, an especially appropriate task in this era of pugnacious nationalism. And the three didn’t choose their title lightly.

“It’s one that we arrived at after a lot of conversation,” the composer explains. “And I wonder if it isn’t a little bit ironic, because the idea of the war to end all wars was such an obvious myth. And the idea of arriving at peace through violence is a myth that we continue to perpetuate to this day, with preemptive strikes and things like this—preventing violence by creating violence. But by remembering and thinking through events, we can hopefully continue to learn from them, even now.”

OVER AT THE VANCOUVER Symphony Orchestra, newly installed music director Otto Tausk has a somewhat more complex task to consider: how to honour the centenary of the Armistice, and also the orchestra’s own 100th birthday. He’s opted to go general, by programming a work that is all about sorrow and redemption, but that was written prior to the horrific events of the 20th century. Not entirely coincidentally, it’s also a piece that for some unknown reason the VSO

has never performed before.

When Anton Dvořák wrote his massive Stabat Mater—in which the VSO will be joined by the UBC University Singers and four powerful soloists—he was in a state of psychic desolation, but he offloaded some of his sorrow into the Catholic story of the Virgin Mary’s vigil over the crucified Christ.

“The music we know by Dvořák— or that we know well, like the ‘New World’ symphony—is full of energy and light,” Tausk explains, talking to the Straight from his home in Wageningen, Netherlands. “He was a positive and very vibrant composer. But, actually, his personal life was tragic. His daughter, Josepha, died, and then his second daughter died, and also his son died. So he had a great personal loss, but somehow he found help or support in music, and also in faith. And so with the Stabat Mater, the whole piece is actually put into words right at the very beginning, with ‘Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius’: ‘The grieving mother by the cross where her son is crucified.’

And this image of a mother weeping for her child is maybe symbolic for every family that lost somebody in the First World War, you know.

I find it very strong, very powerful.

“It’s such a beautiful piece, and it’s such a sad piece at the same time,” Tausk continues. “And it’s also a piece that somehow gives hope. It’s just the perfect piece for commemorating such a tragedy as the First World War. The work is not so very well-known, but I think it should be well-known, because I think it’s one of the best works ever written for choir and orchestra— and if you’re programming for a special occasion, it should be something that people can look forward to, experience an extraordinary evening with, and hopefully also remember.”

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The Vancouver Symphony Orchestra presents Anton Dvořák’s Stabat Mater at the Orpheum on Friday and Saturday (November 9 and 10). Chor Leoni presents When There Is Peace: An Armistice Oratorio at St. Andrew’s–Wesley United Church on Saturday (November 10), and at West Vancouver United Church on Sunday (November 11). The Little Chamber Music Series That Could presents Centum Corpora at Mountain View Cemetery at 11 a.m. on Sunday (November 11).

The Enemy’s timely tale of contaminated truth

C

by Janet Smith

ontaminated water, politicians choosing economics over the environment, and a news media grappling with truth versus fake news.

Those may sound like themes pulled from today’s headlines, but they come from a play that’s more than a century old: An Enemy of the People, written in 1882 by Norwegian playwright Henrik Ibsen.

Now, 136 years later, Firehall Arts Centre artistic producer Donna Spencer’s new adaptation, The Enemy, pulls the story straight into 2018, setting it in a B.C. town where a spa and waterpark draw tourists in droves. She’s added such modern touchstones as boil-water advisories and a digitally minded town newspaper that’s driven by web hits.

“There is a health springs up in the mountains and that was healthy and was for community use,” Spencer explains, sitting in her brick-walled office at the heritage theatre she’s

led for more than three decades. “Then the community decides it needs another resource, so the mayor and his buddies say, ‘Why don’t we actually make a waterpark there?’ But to do that, they have to bring water in from different sources.” That introduces contamination that the lead character, Dr. Stockman, discovers in a lab report. “It could come from fertilizer in the fields; it could come from mine tailings,” Spencer says.

Stockman wants to blow the whistle. The central dilemma for others is that publicizing the story could ruin the town’s main source of revenue—making Stockman an enemy of the people. But covering it up could have dire consequences. “The truth is anything but blackand-white these days,” Spencer says. “This is asking us to question, ‘What would you do?’”

The story reminds Spencer, who’s also directing the play, of the Kinder Morgan pipeline debate here. “For many people, if it doesn’t go through, they’re losing their livelihood, and for

many, if it does go through, it could destroy the ocean,” she says.

Spencer has been working on the adaptation off and on for the last 15 years. She debuted it at the Firehall in 2002, and it saw several more small mountings over the ensuing years. But she always wanted to get back to it—and the era of Donald Trump, populism, fake news, and other events made her realize the time was right for an update. “It was that theme: ‘Is the majority always right?’” she says. “I kept thinking, ‘I have to go back to that play before I retire.’”

From the adaptation’s very beginnings in 2002, Spencer has wanted the doctor, a male in Ibsen’s original, to be a woman—with Jenn Griffin playing the role in the new production.

And that casting brings a whole new meaning to the fight the character mounts against her town and its old boys’ club.

“There’s a different dynamic to play with there. When women are passionate about

something, we’re called hysterical, whereas a man is being brave or heroic,” Spencer says.

Spencer retreated to Little Shuswap Lake this summer to dig into the play again, wanting to bring it up-to-date for the digital era.

She also went back to Arthur Miller’s 1950s adaptation of An Enemy of the People, which the playwright wrote during the nightmare of McCarthyism.

Social media now plays a big role in the outcome of The Enemy, with Spencer finding ways to project its attacks in the play’s violent climax—one that traditionally involves bricks and windows. “At the end they should be questioning who is the enemy,” says Spencer of the audience. “It’s not the doctor. Is it the mayor?

Or the general public? I hope they will ask themselves who’s complicit in this.”

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The Enemy is at the Firehall Arts Centre from Saturday (November 10) to December 1.

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TOP LEFT/RIGHT PHOTOS: RWB COMPANY DANCERS. BOTTOM LEFT PHOTO: LIANG XING AND YAYOI BAN. BOTTOM RIGHT PHOTO: RWB SCHOOL STUDENTS AND YAYOI BAN. PHOTOS BY DAVID COOPER.

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ARTS Public and Private finds a feminist camaraderie

D

by Janet Smith

ance artist Ziyian Kwan, like uncountable others, was inspired by the ripple effects of the #MeToo movement—by women across the continent raising their voices, pushing back, and speaking out like never before.

All that material made her start to wonder what kind of feminist she was. And it prompted her to start exploring her ideas in a studio— not alone, as the artistic director of dumb instrument Dance does in solo work like her the neck to fall, but with other female-bodied performers.

“Who am I in this beautiful movement and how are we encouraged?” she asks, sitting in a café around the corner from the Left of Main studio where her work Public and Private soon debuts. “The solution to me is to be in a room together with people and talking about it.”

She gathered dancers Deanna Peters, Delia Brett, Erika Mitsuhashi, and Hayley Gawthrop. And she has set them all in a room at the tiny Left of Main studio with the thundering sounds of Eileen Kage’s taiko drums, under the watchful eye of dramaturge Heidi Taylor. The tight bond the group has formed is obvious.

The day the Straight is there, the artists open rehearsal with their own ritual: sitting in a circle, they take turns saying what they’ve brought to give and what they hope to take away from the day. Sometimes the answers are as simple as “inspiration” and “garlic breath”; the point is, they’re sharing private things—and that flows naturally into Kwan’s collaborative creative process, in which everyone reveals a little of herself in the public realm.

Once rehearsal begins, the artists speak and holler, rearrange each other’s limbs, embrace and intertwine, holding hands. In developing the

Dance artist Ziyian Kwan is staging her new work in an intimate space. David Cooper photo

eclectic piece, Kwan has had to work through their different perceptions of what it means to be a feminist today, what it means to move for the female gaze instead of the male gaze.

For Kwan, it’s also meant digging at her own private history.

“With Left of Main being in Chinatown, I can’t escape the fact that my feminism relates to being ChineseCanadian,” says Kwan. “My feminism was rooted in my mother, who raised two children pretty much on her own while getting an English degree, while also working as a secretary. So my life is rooted in feminism.”

In Public and Private, the dancers invite the viewers into that room with them. The space allows for just about 25 people to sit in chairs along the wall. “It was an intimate piece and I wanted an intimate space,” Kwan says of her first self-produced work. “It’s about intimacy and it’s about camaraderie.”

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Public and Private takes place at Left of Main (144 Keefer Street) from Tuesday to next Saturday (November 13 to 17), and from November 20 to 24.

Gad Elmaleh strives to be funny in another language

I

by Guy MacPherson

t’s been three years since Gad Elmaleh transitioned from superstardom in France to working comic in America, but he’s slowly but surely clawing his way back to the top. He’ll claim he’s still an unknown commodity, but you don’t headline theatres the size of the Chan Centre without a decent following.

When he rebooted his career in New York, Elmaleh started performing in French for expats, gradually integrating English into his sets. His English has improved enough that his shows are now 100 percent en anglais.

“I like being on-stage with people having no idea who I am because I make them laugh,” he says on the phone from Montreal, which he moved to from Morocco in 1988 before relocating to France in ’92. “I earn those laughs, because they don’t know who I am. No credits. I like it.”

Two Netflix specials won’t keep you anonymous, though he says it’s only in the comedy world that he’s noticed. “I can walk around New York City and nobody talks to me,” he says.

“It’s the best.”

Any press release on Elmaleh mentions that he’s the Jerry Seinfeld of France, not because there’s any stylistic similarity to the American protocomic, but more because of his stature in Europe as the best standup.

But always being put side by side with a fellow comedian is not something he relishes at this stage of his career.

“I’m of course flattered and honoured when they say the Jerry Seinfeld of France, but to be really honest, it’s not good to be compared to anyone,” he says. “In that case it’s great, because I admire Jerry and he’s my friend and

I love him and he advises me and we talk about comedy. It just helps when you begin to identify. But it shows you the power of America, because the other way around doesn’t exist. I wanna meet the Chris Rock of Japan!”

On this leg of his tour, which includes Portland, San Francisco, and Los Angeles, Elmaleh will be travelling with Vancouver superstar Ivan Decker, who might rightly be called the Jerry Seinfeld of Canada for his detailed and joke-heavy observational style. (“I love him,” Elmaleh says of Decker. “And I would love to introduce him to Jerry, because he deserves it and I’m sure Jerry would love him, really love him.”)

To date, Elmaleh’s English act has focused on his experiences adjusting to a new culture, a natural topic for comedians performing outside their usual boundaries. The new audiences can laugh at and gain a new perspective on their own customs.

But Elmaleh’s goal is to graduate to more everyday jokes.

“My next challenge is to write material that doesn’t talk about this whole fish-out-of-water situation,” he says. “I just want to be a funny man in another language. I’m not going to give up everything and avoid all those topics about my roots and identity and all that, but I want it to be just a little percentage of my show, like 10 percent, and 90 percent just observational comedy about life and relationships and things that make me laugh. If I can do that, I’ll be really, really proud.”

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Gad Elmaleh’s Dream Tour plays the Chan Centre for the Performing Arts on Thursday (November 8).

ARTS

Cantata Singers give voice to lost Indigenous women

Buy Early for Biggest Savings!

L

by Alexander Varty

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The Vancouver Cantata Singers present Threnody: Requiem and Remembrance at Christ Church Cathedral on Saturday (November 10).

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ike a number of other local classical-music events this weekend (see story, page 19), the Vancouver Cantata Singers’ Threnody: Requiem and Remembrance is intended to commemorate the 100th anniversary of the end of the First World War, and to provide a more general opportunity to mourn those we’ve lost in that and other conf licts. But there’s also a pointed message in this sombre and beautiful program, thanks to Kristi Lane Sinclair’s song “Woman”, which reminds us of a slaughter that’s happening right here at home: the undeclared but ongoing war against Indigenous women. Hundreds, if not thousands, of mostly young women are among the missing or murdered— and, more often than not, finding their killers has been a low priority for police forces across Canada and elsewhere.

Not surprisingly, these sad facts were on Sinclair’s mind when she sat down to work on material for her second LP, Dark Matter, which was released in 2015. “This was after a lot of things had started to come out in the media,” the Haida singer-songwriter explains, in a telephone conversation from her Toronto home. “This was after Tina Fontaine—stuff that just really breaks your heart and tears you apart. And then [actor] Misty Upham was missing in Washington state, and nobody would look for her there. Her family found her, because they’re the only ones who were going to look. So I remember being literally f loored—I was on my knees, crying, because I was just so angry and so fucking upset…and then I literally stood up. I had an electric guitar beside me, and I just started playing and the song was written in the length of the song.

“I knew it was special,” Sinclair continues. “I knew exactly what it was about; and I knew that it probably wasn’t really my voice. And I knew to just trust that, and let the song become whatever it wanted to be.”

Three years later, the song is now becoming something else, with help from Cantata Singers artistic director Paula Kremer and composer Peter Hannan—who, as it turns out, both had some prior history with its creator. “Paula was my solfège [sight-reading] teacher, and Peter ended up being my composition teacher-slash-mentor,” says Sinclair, who studied music for three years at VCC. “I was going to work with him on writing for strings, and then he said he was in conversation with Paula, and that the choir wanted to try something a little bit different.

And he said, ‘I think you should do this, and I’ll help you.’

“I hadn’t written notes on a page for, like, years,” she adds, laughing.

“But layering voices like that gave it a power it didn’t have in the original version, with just me singing it. Hearing 30 people sing it is way cooler.”

Sinclair thinks it’s especially cool that a broader audience will now get a chance to hear “Woman”, in a context that will only reinforce its message.

“In the end, the piece is about being inclusive,” she says. “It can’t just be Indigenous people who care, and it can’t just be Indigenous people who take action. In the press, a lot of these women are dehumanized for various reasons—and that’s completely unfair, because they’re very loved and very beautiful, and an important part of our culture and this country.

So everybody needs to stand up and protect them.”

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Fairmont Pacific Rim

AGES 10+

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Deep Cove Kayak Centre deepcovekayak.com

A digital exploration of mothers and sons through the lens of Minecraft. *MINE is not an official Minecraft product nor is it associated with Mojang.

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NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 21

ARTS

A Christmas Story is a nostalgic treat THEATRE

A CHRISTMAS STORY: THE MUSICAL

Book by Joseph Robinette. Music and lyrics by Benj Pasek and Justin Paul. Directed by Chad Matchette.

An Align Entertainment production.

At the Michael J. Fox Theatre on Saturday, November 3. Continues until November 17

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by Kathleen Oliver

THE BELIEVERS ARE BUT BROTHERS

By Javaad Alipoor. Directed by Javaad Alipoor and Kirsty Housley.

A Javaad Alipoor production, presented by the Cultch and Diwali in B.C. At the Vancity Culture Lab on Thursday, November 1. Continues until November 10

d WOW, YOU can pack a lot into

an hour of theatre.

In The Believers Are But Brothers British writer-performer Javaad Alipoor uses multiple interfaces, including direct address to the audience, video projection, and a live group chat on WhatsApp, to explore, in his words, “men, politics, and the Internet”. The play’s form mirrors its subject matter, clicking link after associative link.

But The Believers Are But Brothers is not an attack on social media; Alipoor tells us that he appreciates the community he finds there and values the opportunity it affords to “blur the edges of [him]self”. The play raises thought-provoking questions about just how blurry those edges can get.

Alipoor draws on his own experience, alongside the imagined stories of Atif and Mirwan, two radicalized British Muslims based on young men with whom he had brief real-life interactions online, and Ethan, a.k.a. Father Lulz, a California white boy whose lack of success in dating metastasizes into chat-room-fuelled misogyny.

To understand the worlds of these characters, it helps to know words like jihadism, 4chan, Gamergate, doxxing, libtards, lulz, and memes—but for the uninitiated, Alipoor does an excellent job of explaining. He demonstrates firsthand by having audience members guess—on WhatsApp— how many Muslims there are in the U.K., and how many of them have joined ISIS. Lit-up cellphones dot the audience; the guesses vary wildly.

“It doesn’t matter if you know what you’re talking about, you just get your voice out there,” Alipoor observes.

“On-screen there’s always already a war being fought,” Alipoor’s narrator tells us of Ethan, the American.

“He may look alone, but he is invisibly surrounded.” This idea is present in Ben Pacey’s stage design: Alipoor occasionally turns his back to us to attend to one of the screens (one of them shows a first-person-shooter game) on a desk facing the audience; another desk faces his, where a man (producer Luke Emery) sits in shadow at another computer screen.

The textural variety of the show is rich: one moment, you’re reading texts in your lap or taking part in what feels

by Kathleen Oliver

BACKBONE

Created by Gravity & Other Myths.

Directed by Darcy Grant. A Gravity & Other Myths production, presented by the Cultch. At the Vancouver Playhouse on Tuesday, October 30.

No remaining performances

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“PEOPLE CAN fly!” I wrote that in my notebook partway through Backbone, an extraordinary show from Australia’s aptly named Gravity & Other Myths.

If you saw A Simple Space at the York Theatre a couple of years back, you likely haven’t forgotten the company’s dazzling combination of playfulness and virtuosity. Made for a bigger space and a more expansive stage, Backbone sets the bar even higher.

What these 10 acrobats can do with their bodies will make you gasp over and over again. (Actually, they might make you gasp even when they’re just standing still: these folks have muscles where I didn’t even know muscles existed.) They balance 12-foot poles on their heads for an impossibly long time! They make a tower that’s three people tall, then put a fourth on top! Female acrobats

walk along the heads of a shifting line of men! One woman floats supine in the air, balanced on a single pole! Another is held aloft only by her chin! They make a human pyramid while all of them are wearing metal pails on their heads! These exclamation marks are all justified!

But these physical feats never feel like empty showing off, because there’s such a joyous camaraderie in the group. Things that begin as games—like trading costumes or dumping sand over each other’s heads—quickly morph into breathtaking routines. In one sequence, the group stands in a long line behind a rope held at waist level. They randomly take turns numbering off, but when two people call out a number at the same time, they have to stand back while the rest of the group stretch the rope forward with their bodies, then simultaneously do handstands over it, causing it to snap back and whip the unfortunate pair upstage. Throughout the show, performers swing and toss each other’s bodies around like toys—but they also catch them with jaw-dropping precision.

Aesthetically, this show is a step up from the bare-stage intimacy of A Simple Space. The props are relatively simple—poles, rocks, buckets of sand—but they’re used inventively, and the sheer number of them makes for many elegant stage pictures. Geoff Cobham’s dramatic lighting design sculpts the space with its angled beams of single colours. Musician-composers Shenton Gregory, Elliot Zoerner, and Christopher Neale create a sinuous and percussive score, performed live on drums, keyboards, and violin.

But the human body—and the things you never imagined it capable of—are the big stars.

by Kathleen Oliver

ADAPTED FROM HENRICK IBSEN’S AN ENEMY OF THE PEOPLE

ENEMY

THE

18/19

STUDIO 58 / LANGARA COLLEGE , IN ASSOCIATION WITH TOUCHSTONE THEATRE PRESENT

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like an informal conversation; the next, you’re watching a face on a screen describe a milestone in the history of ISIS in language that is both poetic and disturbing. The imprisonment and torture of Sayyid Qutb, an early advocate of violent jihad in 1950s Egypt, is described as leading to “a vision of redemption that you can only reach by climbing a mountain of corpses”.

Believers doesn’t offer easy answers to any of the difficult questions it asks.

There’s more to take in than a single viewing affords; that’s an enormous achievement.

A FIREHALL ARTS CENTRE PRODUCTION

A CHRISTMAS STORY: The Musical will already have closed two whole weeks before you flip your calendar page to December, but if you’re the type for whom the festive season can’t start early enough, this hearty dose of good cheer is for you.

The 2012 musical is based on the 1983 film of the same title. Here, as there, a framing device features an author recalling his childhood in 1940.

Nine-year-old Ralphie desperately wants a Red Ryder BB gun for Christmas, but all the adults—even Santa— give the same automatic response: “You’ll shoot your eye out.” Meanwhile, Ralphie’s little brother whines a lot, their mother exhibits the patience of a saint, and their father proves to be just as much of a dreamer as his son.

Nostalgia is at the heart of the film, and the songs pleasantly evoke a more innocent time while giving life to the film’s iconic images.

“Sticky Situation” sees Ralphie’s classmate get his tongue stuck to a flagpole. “A Major Award” celebrates his father’s unusual contest prize, and features a group of dancing girls dressed as leg lamps.

The entire cast of 32, at least half of them kids, do impressive work under Chad Matchette’s direction. Owen Scott is an excellent Ralphie. He’s an unpretentious actor and a strong

singer; just watch the workout he gets in “Ralphie to the Rescue”. Brennan Cuff, as the Old Man (Ralphie’s dad), is terrific: his chronically harried Everyman is rooted in the period, as is his creamy voice. As the adult Ralphie, Trent Glukler is a solid narrator. And Amanda Russell shines as teacher Miss Shields, especially when she lets loose for a big tap number, “You’ll Shoot Your Eye Out”.

Musical director Caitlin Hayes and choreographer Melissa Turpin maximize the talents of the huge cast with gorgeous harmonies and lively movement. Conor Moore’s set requires the actors to move big pieces frequently, but these elaborate changes are executed with lightning speed. And props to costume designer Maureen Robertson for outfitting the cast in everything from pyjamas to elf costumes to cancan dresses.

It’s big, it’s colourful, and it’s warmhearted—an early taste of holiday spirit.

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ARTS

Ballet BC opens season with challenging vision

by Janet Smith

DANCE PROGRAM 1

A Ballet BC production. At the Queen Elizabeth Theatre on Thursday, November 1. No remaining performances

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WHAT CAN WE read into Ballet BC’s choice to open its seasonlaunching program with William Forsythe’s driving, delirious Enemy in the Figure­?

On one level, staging such a breathtakingly difficult piece announces the high physical and intellectual sophistication of the company. It also marks a troupe eager to push forward—an energy, an audacity, an ambition, but most of all, a commitment.

What’s most remarkable watching this piece, staged for the first time in Canada, is that even though Forsythe created it in 1989, it still feels cutting-edge. Enemy in the Figure is unflinchingly challenging, with its speed-of-sound motion, its shifting set pieces, and its gruelling demands for technique. It’s a puzzle box of ever-moving parts, dancers jumping to avoid a thick rope that ripples across the stage or catching the glare of a rolling floodlight. They throw dynamic shadows against a wavy central wall, push up against it, and sometimes disappear into the darkness. The intricately designed frenzy has the mystery and thrill of film noir, abstracted into conceptual art.

It’s an exhilarating dreamscape that scatters the viewer’s attention, with dancing often going on at opposite ends of the space.

The male artists, especially relative newcomers like Justin Rapaport and Patrick Kilbane, pull off sharply defined jetés and athletic kicks and spins across the stage.

But the work also celebrates the women’s skill level, as the famous choreographer distorts and pushes the language of classical ballet to angular extremes.

It’s a marvel artistic director Emily Molnar has spent years wanting to stage—and it’s been worth the wait.

She’s celebrating a decade as artistic director of the company, and the mixed program was an apt ode to her journey. Forsythe, after all, was her mentor back when she was a dancer at the Frankfurt Ballet.

She followed Enemy in the Figure with her own To this day—a piece that could not feel any freer and looser, as it was meant to, by comparison. Wearing primary-hued costumes, dancers ride the wild grooves of Jimi Hendrix’s posthumous Blues album. The piece’s biggest strength is showing the dancers as individuals, and letting them find a rawer, more idiosyncratic new side.

As for the show-closing Petite Cérémonie, one of the most successful pieces Ballet BC has staged under Molnar’s reign, it was like dessert to all this—a nostalgic treat that’s a company and audience favourite alike. Parisian choreographer Medhi Walerski opens the stage to the flies, and sends out dancers in black suits and cocktail dresses.

In all, Program 1 celebrated where Ballet BC has been, and asserted where it’s going—and judging by the audience’s enthusiastic reception, viewers are ready to go along for the ride.

A HEARTWARMING HOLIDAY MUSICAL FOR THE WHOLE FAMILY

AKRAM KHAN COMPANY (UK) CHOTTO DESH “AN ABSOLUTE TRIUMPH.” THE SCOTSMAN

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NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 23

Morna Edmundson, Artistic Director Stephen Smith, Piano

Paula Kremer, Artistic Director

THRENODY

REQUIEM AND REMEMBRANCE

SATURDAY NOVEMBER 10, 2018 7:30PM

Guest artists, tenor Ben Ben Heppner Heppne p er and the VYC Kids, Director ctor or Ca C Cassie ass ssiie LLuftspring uftspring

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“With a refined touch and a beguiling sense of Schubertian style, the Italian pianist Andrea Lucchesini conveys to captivating effect the sublime invention and intimacy of the impromptus.”

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ANDREA LUCCHESINI PIANO SUN NOV 18 at 3pm

CHAN CENTRE FOR THE PERFORMING ARTS Remarkable artist. Fascinating repertoire. A rare Vancouver performance from one of Italy’s finest pianists.

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ARTS

Aboriginal women express the infinite

by Robin Laurence

VISUAL ART

MARKING THE INFINITE: CONTEMPORARY WOMEN ARTISTS FROM ABORIGINAL AUSTRALIA

At the Museum of Anthropology at UBC until March 31, 2019

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TWO OF THE biggest and most compelling paintings in the exhibition Marking the Infinite are by senior Aboriginal artist Angelina Pwerle. Executed in acrylic paint on canvas, each is composed of thousands upon thousands of small white dots, one work with a rosy red ground, the other, sooty black. Suggestive of the night sky, of looking upward at the numberless stars and cloudlike galaxies of our universe, they are, instead, symbolic depictions of the small white flowers of the bush plum that is native to Pwerle’s country in the Australian desert, northeast of Alice Springs. More than that, they allude to the artist’s patrilineal clan estate, walked in the time of creation—the time of the Dreaming—by the clan’s Bush Plum ancestor.

Subtitled “Contemporary Women Artists from Aboriginal Australia”, this glorious exhibition recently landed at the Museum of Anthropology after travelling to five galleries in the United States. Drawn from the collection of Miami-based Debra and Dennis Scholl

At MOA’s Marking the Infinite, Wintjiya Napaltjarri’s Womens Ceremonies at Watanuma captures “the interconnectedness between a humble mark and the vastness of the universe”.

and curated by art historian Henry F. Skerritt, it includes some 61 works by nine women. In addition to Pwerle, the artists represented are Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, Gulumbu Yunupingu, and Nyapan­ yapa Yunupingu. As Skerritt writes in

the accompanying catalogue, the show is not intended as a comprehensive survey. Instead, “it focuses on artists who draw from the local and the specific, and extrapolate to the universal.” At the same time, the show demonstrates an interesting development: much contemporary Aboriginal art production in Australia in the past three decades

has been powered by women.

With a few exceptions (twinedpalm-leaf figures by Yarinkura; memorial poles by Marawili and others), Marking the Infinite is composed of paintings, some of them acrylic on canvas (by women based in desert communities in the Australian interior) and others, earth pigments on bark (by those living in Arnhem Land, in Australia’s tropical north). Whether composed of dots, lines, circles within circles, or cross-hatching, all these seeming abstractions are symbolic, “defiantly embedded in specific cultural contexts and artistic traditions,” Skerritt writes. One of the fascinating aspects of this work is how so many of the artists have found ways around gendered proscriptions, especially regarding access to certain stories and symbols. They have truly claimed the marks as their own.

A number of the paintings were commissioned directly by Dennis Scholl, who encouraged the women to work on a larger scale than they were accustomed to—that is, to produce work that would command attention in a western art gallery or museum. While most of them met this request with skill and confidence, there is something unsettling about an outsider-imposed, biggeris-better aesthetic. Still, contemporary Aboriginal art from Australia has been produced since the early

1970s expressly for the market and the non-Indigenous art world. Similar to contemporary Inuit art, it is a guided and adapted cultural practice that provides a dependable income for Aboriginal families in small, remote, impoverished communities.

Art ranges from Napangati’s Ancestral Women at Yunala, whose dotted surface seems to shift and undulate before our eyes, to Carlene West’s huge, gestural depictions of Tjitjiti, the salt lake on whose western edge she was born. It also includes Wilson’s Syaw paintings, based on her people’s lost tradition of fishnet weaving, and Marawili’s diamond-patterned depictions of fire, water, lightning, and rock. Particularly captivating are Napaltjarri’s bold red U-shapes, bars, loops, and circles emerging from a creamy white ground, and Gulumbu Yunupingu’s star paintings, rendered in earth pigments on bark. Gulumbu’s works, which western viewers might describe as all-over abstractions, are composed of thousands of dots and crosses, and evoke, the catalogue tells us, the night sky and the Yolngu people’s conception of the cosmos. Like Pwerle’s bush-plum paintings, they beautifully embody the show’s underlying theme— “the interconnectedness between a humble mark and the vastness of the universe.”

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CHOR LEONI MEN’S CHOIR ERICK LICHTE ARTISTIC DIRECTOR

AN ARMISTICE ORATORIO

BY ZACHARY WADSWORTH

BOREALIS STRING QUARTET | LAWRENCE WILIFORD, tenor | ARWEN MYERS, soprano

27TH ANNUAL REMEMBRANCE DAY CONCERTS

November 10 | 3pm & 8pm ST. ANDREW’S-WESLEY UNITED CHURCH, VANCOUVER

November 11 | 3pm WEST VANCOUVER UNITED CHURCH

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NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 25

WHISTLER PRESENTS Endless Entertainment

FEATURE EVENT

ARTS LISTINGS ONGOING CURIOUS IMAGININGS Vancouver Biennale 2018-2020 is excited to present the groundbreaking immersive sculpture exhibition Curious Imaginings. For the first time ever, renowned Australian artist Patricia Piccinini is taking her hyperrealist, fantastical creatures outside the museum. The intimate setting of a wing of 18 rooms in Strathcona’s historic Patricia Hotel will be transformed for the Curious Imaginings exhibition. To Dec 15, Patricia Hotel. Tix $16-40.

TITANIC: THE ARTIFACT EXHIBITION Exhibition focuses on the legendary RMS Titanic’s compelling human stories through more than 120 authentic artifacts and extensive room re-creations. To Jan 11, 2019, Lipont Place.

THE COMEDY MIX 1015 Burrard, Century Plaza Hotel & Spa, 604-684-5050, www. thecomedymix.com/. Comedy club with pro-am night Tue at 8:30 pm, showcase Wed at 8:30 pm, and featured headliners Thu at 8:30 pm and Fri-Sat at 8 and 10:30 pm. Cover $8 Tue, $10 Wed, $15 Thu, $18 Fri, $20 Sat. GRAHAM CLARK Nov 8-10 BRIAN POSEHN Nov 15-17 DARCY MICHAEL Nov 22-24.

THE MUSEUM OF ANTHROPOLOGY AT UBC IN A DIFFERENT LIGHT: REFLECTING ON NORTHWEST COAST ART to spring 2019 MARKING THE INFINITE: CONTEMPORARY WOMEN ARTISTS FROM ABORIGINAL AUSTRALIA to Mar 31 BILL REID GALLERY OF NORTHWEST COAST ART BODY LANGUAGE: REAWAKENING CULTURAL TATTOOING OF THE NORTHWEST to Jan 13 INTERFACE: THE WOVEN ARTWORK OF JAAD KUUJUS to Jan 9 MUSEUM OF VANCOUVER WILD THINGS: THE POWER OF NATURE IN OUR LIVES to Sep 30 HAIDA NOW: A VISUAL FEAST OF INNOVATION AND TRADITION to Dec 1, 2019 IN/FLUX: ART OF KOREAN DIASPORA to Jan 6 VANCOUVER ART GALLERY A CURATOR’S VIEW: IAN THOM SELECTS to Mar 17 GUO PEI: COUTURE BEYOND to Jan 20, 2019, 10 am–5 pm DANA CLAXTON: FRINGING THE CUBE to Feb 3 THE POLYGON GALLERY LOOKING AT PERSEPOLIS: THE CAMERA IN IRAN 18501930 to Jan 13 BATIA SUTER: PARALLEL ENCYCLOPEDIA EXTENDED to Jan 13 SWEAT The Arts Club Theatre Company presents Lynn Nottage’s examination of a community that is formed and dissolved amid the changing landscape of America. To Nov 18, Stanley Industrial Alliance Stage. Tix from $29.

THE WOLVES With a Spoon and Rumble Theatre present a play about a teenage girls’ soccer team whose members grapple with everything from pop culture to politics, discovering their identities as individuals and a team. To Nov 10, Pacific Theatre. Tix $20-36.50.

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November 8 – 18 Let your taste buds run wild at Whistler’s 11-day fall festival of food and drink, voted best wine festival by Georgia Straight readers. With winery dinners, grand tastings, culinary workshops and more, Cornucopia’s rich and wide-ranging program is sure to satisfy your senses. Take advantage of great accommodation deals for an unforgettable culinary stay in the mountains, where the epic and epicurious come together.

HIGHLIGHTS November 10 CRUSH GRAND TASTING

November 17 POURED GRAND TASTING

November 15 THE PICNIC

November 17 ABSTRACT FUTURE: FROM NOW TO ETERNITY

Experience the full spectrum of what the beverage industry has to offer as you sip scotch, an expertly crafted BC Beer, a Canadian Cider or a fine wine from across the globe.

As the renowned flagship grand tasting event of Cornucopia, Crush creates a vibrant atmosphere for attendees to sip, savour and sample their way through the night.

The Picnic gathers together food visionaries and culinary talent to celebrate the world of food and drink at this gala tasting.

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Visit whistler.com for a year-round calendar of festivals, concerts and entertainment.

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THE ROCKY HORROR SHOW Richard O’Brien’s kitschy musical-theatre rock ‘n’ roll gothic thriller. To Nov 10, Waterfront Theatre.

Tix from $39.

SEX WITH STRANGERS Mitch and Murray Productions presents a drama about love, lust, and the nature of identity. To Nov 10, Studio 16.

BUSYBODY Crime comedy in which a cleaning lady finds the dead body of her employer. To Nov 17, 8 pm, Metro Theatre. Tix $25/22.

THE BELIEVERS ARE BUT BROTHERS Oneman show explores the smoke-and-mirrors world of online extremism, anonymity, and hate speech. To Nov 10, 8 pm, Vancity Culture Lab. Tix $35.

TED HUGHES’S TALES FROM OVID Adaptation of “Metamorphoses” shows what happens when the mythic plane is exposed to human chaos. To Nov 9, Douglas College Studio Theatre. Tix $10-20.

RED BIRDS Aaron Bushkowsky’s bittersweet comedy about three generations of dirt-poor women whose lives are thrown into chaos when a birth mother is revealed. To Nov 18, PAL Studio Theatre. Tix $27/32.

A CHRISTMAS STORY: THE MUSICAL Align Entertainment presents a musical based on the 1983 film. To Nov 17, 8-10 pm, Michael J. Fox Theatre.

WARD/WARD—ANN VAN DEN BROEK The many qualities of the colour black are examined in Dutch-Flemish choreographer Ann Van den Broek’s dance work The Black Piece. To Nov 8, 8 pm, Scotiabank Dance Centre. Tix $33/$25.

SMALLWAR A companion piece to the 2016 smash-hit BigMoutH that looks at the man on the ground and the consequences of what our leaders tell us. To Nov 11, 8 pm, York Theatre. Tix $10-$51.

WEDNESDAY, NOVEMBER 7 CIRCLE CRAFT CHRISTMAS MARKET Works by over 300 artisans, including clothing designers, potters, wood and metal workers, glass blowers, jewellers, and toy makers. Nov 7-11, Vancouver Convention Centre. Tix $11-$15.

CALMUS ENSEMBLE Music in the Morning presents vocal group from Germany. Nov 7-8, 10:30-11:30 am, Vancouver Academy of Music.

Tix $38/$42.

THREE WINTERS A troupe of seven millennial actresses play WWII soldiers captured in the Stalag Luft III POW camp. Nov 7-17, 8 pm, Historic Theatre. Tix $24-$51.

THURSDAY, NOVEMBER 8 VANCOUVER PODCAST FESTIVAL Live shows by podcasters, panels, and a podfair.

Nov 8-10, Vancouver Public Library.

JAKE’S GIFT Writer-performer Julia Mackey’s play explores the legacy of remembrance and personalizes the story behind one

see page 30

movies

REVIEWS

A Korean thriller’s Burning mysteries BURNING

Starring Steven Yeun. In Korean, with English subtitles. Rated 14A

dTHIS TIGHTLY controlled ball of

Korean interclass fury from veteran filmmaker Lee Chang-dong (Peppermint Candy) is loosely based on a Haruki Murakami story called “Barn Burning”, itself a nod to William Faulkner’s tale of the same name.

The film is packed with literary references, but is a strikingly visceral experience, centring on a would-be writer too busy being baffled by life to sit down and write.

Said scribe is Lee Jong-su, played by Yoo Ah-in, a TV, film, and art-world icon in South Korea. Jong-su would be called good-looking if he had a better wardrobe and didn’t shuffle around Seoul like a 12-year-old with his mouth half open. Anyway, he’s considered attractive by Shin Hae-mi (Jeon Jong-seo), a similarly impoverished schoolmate from his childhood days in a farming community so far north, you can hear state propaganda blasting across the border.

When he bumps into her at a random food stall, she says he meant a lot to her when they were kids. But he doesn’t remember her at all. This doesn’t stop her from asking him to look after her cat for two weeks, during some kind of spiritual journey to Africa. So he accompanies Hae-mi to her dingy, less-than-tiny apartment. (“This is a lot nicer than my place,” he says.) He looks after her needs, but the cat never puts in an appearance.

Nonetheless, Jong-su returns to refill the food bowl, clean the litter box, and more. He’s thrilled when Hae-mi calls him from the airport, asking for a ride—less so since she’s travelling with a devilishly handsome fellow called Ben (The Walking Dead’s Detroit-raised Steven Yeun). Actually, the guy has his black Porsche Carrera waiting for him, but he condescends so nicely to Jong-su, it’s even harder to compete for Hae-mi’s attention.

They form a kind of unlikely trio.

And after the film’s most remarkable sequence, at Jong-su’s farm—with Hae-mi doing a seminude sunset dance to Miles Davis’s crepuscular music from Louis Malle’s Elevator to the Gallows—the rich but gainfully unemployed Ben confesses that he

Korean fim and TV star Yoo Ah-in takes the lead in director Lee Chang-dong’s enigmatic Burning, based on a short story by Haruki Murakami.

occasionally burns down abandoned greenhouses for fun. Does he really do that, or might he mean “women”, not greenhouses, like some kind of Korean Patrick Bateman? Jong-su sees him as a not-so-great Gatsby, and casts himself as a resentful Nick Carraway.

But will he ever get to that typewriter?

Some viewers will be more baffled than the protagonist by Burning’s 148 minutes of puzzle-making. And they can argue that its shocking coda actually adds too much clarity to what precedes it. Still, the haunting film’s elegant mysteries keep unfolding after the last ashes are swept away.

(veteran trickster Miranda July, in a rare straight role). This volatile teen, who has spent unspecified time in a mental-care facility, is convinced she is some kind of cat—a source of consternation for Regina but somehow a delight to her cohorts in a livingtheatre workshop she’s part of. The improv group is led by the pregnant and frequently tearful Evangeline, played by Vancouver’s Molly Parker.

Don’t look for anything here to show up in her show reel.

Movies

by Ken Eisner

MADELINE’S MADELINE

Starring Molly Parker. Rated PG

GUMMO Still shocking after all these years, Harmony Korine’s astounding 1997 debut kicks off a weeklong retrospective of the filmmaker’s work, titled Harm, at the Cinematheque on Thursday (November 8).

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MONSTERS This filmed document of the 2017 stage show mounted by Vancouver’s Miscellaneous Productions, working with at-risk youth, screens at the Annex on Thursday (November 8).

dTHERE ARE SURELY good in-

tentions behind Madeline’s Madeline, an exercise in indie filmmaking that makes mumblecore look like Michael Bay. Writer-director Josephine Decker has also acted in some of indie pioneer Joe Swanberg’s films, and she has two well-received features under her filmmaking belt. But a kind of folk-art crudity marks the film and its characters. Instead of backwoods carvers and religious painters, the folkies here are Brooklyn bohemians, caught up in the rhapsodic world of self-conscious creativity.

By no means a naughty French schoolgirl, the main Madeline of the title is a 16-year-old mixed-race kid (first-timer Helena Howard) who lives with her white mother, Regina

TIP SHEET

c

c

AKIRA We’re only a year away from the postnuke Neo-Tokyo setting imagined in Otomo Katsuhiro’s classic, which is receiving two 30th-anniversary screenings at the Vancity Theatre, on Saturday and Sunday (November 10 and 11).

The alleged dramatic tension centres on a maternal tug of war between two grown women over the affections of a child who is, frankly, not particularly charming, talented, or even forthcoming—all drawbacks in the acting department. She is, however, unusually pretty, but is that where we’re at these days? Everyone keeps talking about Madeline’s potential, but the evidence is buried under an avalanche of montages, jump cuts, and murky POV shots, all further discombobulated by a soundtrack that mixes throbbing electronic sounds with omnipresent heartbeats, heavy breathing, internal monologues, and off-screen conversations that often appear unrelated to the action—like Terrence Malick, minus the Beethoven and pretty pictures.

What little synchronized sound is used seems wholly improvised, with little memorable coming out of it. This fits, in a way, with the setting. But filmmakers usually work for posterity, not just in the moment.

And this Madeline is nothing for Proust to write home about.

by Ken Eisner

BOHEMIAN RHAPSODY

Starring Rami Malek. Rated PG

d

As Freddie Mercury, Mr. Robot’s Rami Malek nails the late singer’s trademark overbite, elegantly feral stage delivery, and posh accent. Mercury in no way derived that last part from his parents, Zoroastrian Parsi Indians who moved from Zanzibar to the U.K. when Farrokh Bulsara was a teenager. He only had listened

to Indian music until discovering Led Zeppelin and Liza Minnelli, and he had the zeal of a new convert.

The movie rushes through his first encounters of what would eventually become Queen. Guitarist Brian May and drummer Roger Taylor (Gwilym Lee and Ben Hardy) helped produce the movie, and because John Deacon (Joe Mazzello) didn’t, the latter gets considerably less screen time. The early scenes of creative collaboration and show-business ascent are fairly thrilling. That’s what made these people worth biopicing in the first place.

There’s an especially juicy cameo with a fictional record exec who doesn’t want to release the band’s titular masterpiece, the fun doubled by having him played by Mike Myers, who repopularized the 1975 song in Wayne’s World. Even better, the film juxtaposes the band’s touring success with graphic excerpts from negative reviews of the song.

The story gets more inaccurate as it slogs through its long 130 minutes, riven by competing agendas and a ragged production history. Sacha Baron Cohen was originally slated to play the lead, and director Stephen Frears was onboard at one point. Eventually, Bryan Singer was chosen, but was replaced by Dexter Fletcher, the actor turned director currently tackling Elton John in Rocketman.

The most fractured area involves Freddie’s mercurial sex life. It ramps up his relationship with early girlfriend Mary Austin (Lucy Boynton) at the expense of his eventual gay identity—at the time surprising only to people sure Liberace was straight.

Mary was crucial to him but this overly sanitized Rhapsody relies on the kind of demonic depiction of gay subculture we used to see in the bad old days, essentially blaming his eventual AIDS diagnosis on unhealthy moral choices.

A lot is crammed into the period leading up to Queen’s triumphant turn at Live Aid, in 1985. Beautifully restaged here, it’s depicted as a strained reunion, although the band never actually broke up.

It’s still touring, in fact, and this artifact, while intermittently enjoyable, seems more like merch than a real movie.

by Ken Eisner

NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 27

MOVIES

Filmmaker takes radical action

A

by Adrian Mack

s he reveals in a preamble to his film The Radicals, directed with Brian Hockenstein, Tamo Campos was a mere 10 months old when he went on his first tour of the backcountry.

“Because of my parents,” says the professional snowboarder, “I didn’t have a choice. I was going to be a ski bum.”

As you might expect, glorious action footage of Campos hurtling down the side of vast mountains ensues. But The Radicals has bigger concerns. For the next 60 minutes of the Filmmaker Tamos Campos wants to challenge film, we see Campos and his partners the outdoor community with The Radicals. in the nonprofit Beyond Boarding engaged in what he calls “our respon“The idea, basically, is that we sibility to the mountains”. wanted to challenge the community

about their relationship with the outdoors,” Campos says, calling the Georgia Straight from Toronto, where he’s been screening the film for high-school students. And so The Radicals visits four sites of resistance. Touring B.C. with surfer Jasper Snow Rosen in a van powered by waste vegetable oil, Campos is alongside when community members confront the mining company that would turn Iskut in northwestern B.C. into a toxic tailings pond. Later, the duo joins Indigenous locals in a standoff with industrial salmon farmers in the Broughton Archipelago.

Another member of Beyond Boarding, Marie-France Roy, travels to the Bridge River Valley to learn about the dire impact of B.C. Hydro’s Terzaghi and Lajoie dams and the efforts being made to restore salmon-rearing habitats.

In Haida Gwaii, retired snowboarder Meghan O’Brien reinvents herself as a Haida and Kwakwaka’wakw weaver.

“In the beginning of the film,” Campos explains, “we’re healing the land; in the middle, we’re standing up for it; and at the end, we’re talking about this different connection that we can have with the land through art and showing that resistance isn’t only done to protect the environment but also to protect culture.”

The upbeat snowboarder/filmmaker is happy to report that those school kids in Toronto got the message—to his delight, one of them handed Campos a note that read: “I love this film; it had information like other documentaries but wasn’t quite as boring”—and even happier to measure his own learning experiences.

“I’ve been able to work with these incredible, small, remote communities that have dealt with so much yet they’re still standing up; they’re still showing the world a different relationship we can have with place and they’re also winning, ya know?

In a few short years, I’ve seen a small group kick out an LNG plant on the Skeena; I’ve seen elders kick out a copper mine up in Iskut; and the momentum over those fish farms is huge right now.”

VIFF‘18

In a few short years, I’ve seen a small group kick out an LNG plant on the Skeena.

– Tamos Campos VIFF‘18

Screening next Wednesday (November 14) at the Centennial Theatre, The Radicals is a great example of what the Vancouver International Mountain Film Festival does best: celebrating the outdoor lifestyle with eye-popping cinema (Hockenstein’s photography is predictably spectacular) but also with consciousness, purpose, and a true reverence for an increasingly beleaguered planet.

Alongside its photography exhibit and wall-climbing day, VIMFF’s annual fall series (running from November 13 to 18) brings a program of climbing shorts (Reel Rock 13) to the Centennial and Rio theatres. With the filmmaker in attendance, the Rio also hosts a screening of Nepali director Deepak Rauniyar’s feature White Sun, about two brothers on opposite sides of the Nepalese civil war. More information is at www. vimff.org/.

28 THE GEORGIA STR AIGHT NOVEMBER 8 – 15 / 2018

music

Art d’Ecco is making his own myths

by Mike Usinger

I

n a testament to his brilliant, ongoing exercise in mythmaking, one has to seriously wonder where exactly Art d’Ecco is when he’s reached by phone on a rainy West Coast fall afternoon.

His official story is he’s ensconced in a cabin in a remote coastal location that he has no interest in revealing.

The closest he’ll get to discussing his coordinates is citing one of British Columbia’s lush and magical Gulf Islands.

“The fog is rolling in off the ocean—I can see it through the trees,” d’Ecco says mystically. “It’s a shining prewinter fall day that’s also, I dunno, like something from a weird dreary Pacific Northwest nursery mystery novel.”

Consider this the latest page in a story he’s spent the past few years writing. His back story includes fleeing Vancouver years ago to hole up in a sprawling island home to care for an ailing grandmother, the relative solitude giving him ample time to invent the character that would become analogue-obsessed rocker Art d’Ecco. And what a great character that creation is, all pageboy hair, greasepaint-and-rouge makeup, and Rodney Bingenheimer fashion cues—right down to the retina-searing flares and platform shoes.

The persona brings to mind Letterman-appearance Crispin Hellion Glover, Blue Velvet’s candy-colouredclown-loving Ben, and every glam, goth, and metal rock star who’s ever caked on ghost-white Celebré Pro-HD Cream Makeup. And if that doesn’t exactly line up with reality, d’Ecco isn’t overly worried. All the better if people want to imagine him hitting the local co-op or jogging along the roads of Saturna, Saltspring, Gabriola, Mudge, Mayne, or Pender Island (go ahead and guess which one) in space-suit silver shorts and gold lamé boots “At this point in the game, it’s very on brand to kind of blur the lines,” he says bemusedly. “The more the echo chamber writes absurd things about me, the more I don’t correct it.”

That d’Ecco has a f lair for the dramatic during the interview process won’t shock anyone who’s heard his crazily accomplished new release, Trespasser, a record, it should be noted, that solidified his

Art d’Ecco doesn’t mind people thinking he goes running in silver shorts and platform shoes.

long transformation from onetime Vancouver indie-scene bit player to ’70s-Berlin obsessive.

Because of the way that d’Ecco looks, he’s been slapped with the glam label more than once, which, to be fair, fits as a descriptor for the stomping “Last in Line” and the ghost-ofMajor-Tom reverie “The Hunted”.

But to suggest that Trespasser plants its flag in one genre does the album a massive disservice. “Joy” is classic ’60s paisley pop shot up with Jesus and Mary Chain distortion, “Mary” sweetens bubblegum rock with regal chamber-pop strings, and “Dark Days (Revisited)” jumps headfirst into the cold, black waters of classic goth.

Through it all, d’Ecco sings in an often gauzy, pleasantly otherworldy voice that suggests a kinship with the McDonald brothers from Redd Kross.

The seeds of Trespasser were planted long ago. Born in Ottawa, d’Ecco moved around a lot as a kid, his family spending time in the States and eventually settling in Victoria. Piano lessons and classical music were part of his childhood from age six.

D’Ecco got a crash course in pop and rock in his teens, while working as a line cook in restaurant kitchens where the radio was constantly on.

Later, he’d get to know Vancouver

indie-scene stalwart Jason Corbett— who currently fronts the dark-wave outfit Actors—when his sister began dating him. Corbett would turn him on to game-changing giants like David Bowie and Iggy Pop. D’Ecco eventually joined one of Corbett’s earlier bands, Speed to Kill, and while he was happy to be playing music, he wasn’t happy as a support player. He spent time in Vancouver doing nowhere bartending jobs, drink-

ing too much, and sliding into bouts of self-doubt and depression.

“Eventually, people and your friends come out less and less to your shows,” d’Ecco relates. “It’s harder to get people interested, and you lose steam. And you develop this asshole jadedness.

The straw that broke the camel’s back was that I was at a wedding in Palm Springs, 27 or 28 years old, and everyone was doing so fucking well. And I was the biggest loser at the table. It was like, ‘Oh, he plays in a band.’ And I was like, ‘I do, but do I really?’ ” So d’Ecco’s father—recognizing that his son was going nowhere fast—came up with a plan. It involved the singer moving to a house in the Gulf Islands to care for his ailing grandmother, who was living with dementia. His caregiving role let him focus on music, which he’s always excelled at.

“I don’t know if it’s ADD just applied in the right manner, but when it comes to music and learning an instrument or learning how to write songs, or learning how to do music production, I literally have to remind myself to eat food,” he says.

First, in 2016, came a genre-jumping, wonderfully weird solo debut titled Day Fevers, notable today partly for the way that the singer looks on the cover—trimmed beard, short hair, and mirrored sunglasses.

Trespasser builds fantastically on the idiosyncrasies of that debut.

Q&A Q. Has your music come naturally?

early-’80s MTV generation did and putting weird, androgynA. “I remember my piano teacher ous pieces into this aesthetic telling my mom ‘Arthur is only that crosses into pop culture.” eight years old, and he’s already in 8th grade in terms of music Q. How was Art d’Ecco born? comprehension.’”

A. “I had just bought this $300 wig at a wig store in Mayfield Q. What music inspires you? Mall in Victoria. I was walkA. “The era of music and art- ing through the Bay on the way ists that I really gravitate to back to my car after getting my are the avant-garde art rock- keys cut, and figured I might as ers—the postpunk bands and well go whole hog and buy some certain glam rock, synthesizer makeup. I had no idea what music from the late-’70s. Tak- I was doing. I was just freeing fringe elements like the wheeling.”

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After recording the demos for Day Fevers with only a piano and an iPhone, d’Ecco began investing in recording and musical equipment for the followup, including vintage synths.

“I was creating in a vacuum, without any outside interference,” he says of writing and tweaking Trespasser’s songs in a cabin off the grid. “I couldn’t just check out and go for coffee with my girlfriend down the street.”

Not surprisingly, given the slaving he did over the songs, it’s the little things that often stand out on Trespasser, from the double-reverbed guitars and retro sax solo in “Never Tell” to the John Carpenter synth spookiness in the wraithlike “Who Is It Now?” to the Peter Hook–brand bass line in “Trespasser”.

His metamorphosis would be complete after he discovered a wig in a Victoria mall. Today, the singer understands he comes on as fixated on a time he never knew, making him something of an outlier at a point in history when hip-hop rules the charts and the indie trenches are filled with acts cut from the same post-slacker fabric.

“We don’t need an eight-millionth Mac DeMarco lite coming through the indie-rock channel, or Arcade Fire with big woah-woah choruses,” d’Ecco says. “By the way, I love both those bands. But that’s now done—as soon as you’ve caught that lightning in a bottle, there’s no need for someone else to do it. Being different and marching to the beat of your own drum should be the only pivot point by which an artist goes.”

There are days (most of them, actually) on whatever remote island he’s living on when Art d’Ecco isn’t donning the pageboy wig.

“It’s great, because you could walk right by me on the street and not even know that it’s me,” he says.

As he continues to write his story, though, he’s always Art d’Ecco inside.

“For years, I chased something that wasn’t there,” he admits proudly. “All it took was some introspection and selfactualization to put something into gear that was honest.”

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Art d’Ecco plays a Trespasser albumrelease party at the Biltmore Cabaret on November 16.

Listening’s key to Redman’s Dreaming AS MISSION statements go, it’s hard to top the first track from Still Dreaming’s eponymous debut. “New Year” opens with a loose fanfare, trumpet, tenor saxophone, and bass harmonizing a jaunty line atop playfully raucous drums. A minute in, all four musicians take off in a rocket-fuelled game of tag, before reconvening around the opening line. After that, bandleader Joshua Redman eases into an unabashedly swinging sax solo that subtly references Sonny Rollins; trumpeter Ron Miles shows that two can play that game by explicitly quoting the tenor titan’s catchy “St. Thomas”; bassist Scott Colley and drummer Brian Blade trade amiable fours; and then the head returns—although this time, the drums are playing the melody, too.

A number of things are remarkable about this band, not least that its music sounds both fresh and familiar. And that freshness is especially surprising, given that Still Dreaming is a kind of tribute band, and the band it’s paying tribute to was itself paying homage to an even earlier quartet.

“We’ve kind of formed ourselves as a celebration of this band Old and New Dreams,” Redman says, referring to the ensemble that his father, Dewey Redman, had with Ornette Coleman alumni Don Cherry, Ed Blackwell, and Charlie Haden between 1976 and 1987. Old

Joshua Redman sees Still Dreaming as a reflection of the nice, cool, and giving personalities of his bandmates.

and New Dreams’ remit was to keep building on the acoustic approach Coleman introduced in the 1950s, which Redman says is based on “a free way of playing—a way of playing where you have to improvise form at the same time that you’re improvising melodies”.

Ensuring that this “free jazz” approach hasn’t been done to death is the fact that to do

it well requires consummate musicianship.

Having worked with the best of the best, Redman and his bandmates certainly meet that requirement, but even more extraordinary than their playing is their listening. Spend some time with Still Dreaming, and you’ll hear a stream of subtle interactions between the four players, all generated spontaneously.

“I’m glad that you identified that aspect of it, because that is one of the most important attitudes that you can have as an improvising jazz musician today—a real value placed on listening,” Redman says, adding that his bandmates are “three of the sweetest and most soulful and most sensitive human beings I’ve known.

Everyone is just so nice and so cool. And in this case, I think everyone’s personality really is reflected in the way they play.

“You hear stories about some amazing jazz musicians who could break your heart playing the most beautiful, sensitive, lyrical, and melancholic music, and maybe some of them didn’t have the best reputation in terms of how they treated other people,” he continues. “So I don’t know if that’s always true, but in the case of this band, I think it is.”

by Alexander Varty

Joshua Redman’s Still Dreaming plays the Chan Centre for the Performing Arts on Tuesday (November 13).

FORMER YOUNGBLOOD REBRANDS ITSELF AS BLONDE DIAMOND BLONDE DIAMOND—OR at least the band’s singer, Alexis Young—will likely already be on the radar of the social-media-savvy. Tapped

by Lululemon for a marketing campaign in honour of the company’s 20th birthday, Young was one of five individuals to have her story of growth and adversity released as a 60-second Instagram video this past August. Alongside other clips from celebrities including Baron Baptiste, a performance coach with the Philadelphia Eagles, and undefeated world boxing champion Michele Aboro, Young detailed her journey in music, from volunteer at a South Asian orphanage to touring North America.

“I grew up in Calgary, and I really wanted to get out,” she tells the Straight on the line from a tour stop in Edmonton. “My best friend had a connection to India, so I went there, and that’s where I wrote my first song. Honestly, it wasn’t very good. It was really cheesy, and about my exboyfriend that I broke up with. I actually didn’t have any instruments with me at the time—I just sang it and wrote it in my notebook, and I would sing it repeatedly over and over in my head, all see page 31

NOVEMBER 8 – 15 / 2018 THE GEORGIA STR AIGHT 29

from page 26

soldier’s grave. Nov 8-11, Presentation House Theatre. Tix $15-28.

EMPIRE OF THE SON Vancouver Asian Canadian Theatre presents Tetsuro Shigematsu’s autobiographical one-man show, directed by Richard Wolfe. Nov 8-17, Gateway Theatre. Tix $29.

BOOK LAUNCH Launch of Alex Leslie’s new book We All Need to Eat. Nov 8, 7 pm, Massy Books.

THE CAPILANO REVIEW Celebrate the launch of the new issue with refreshments and readings. Nov 8, 7-10 pm, SUM Gallery.

Free.

MUCH ADO ABOUT NOTHING Fresh take on Shakespeare’s comedy, directed by BFA acting and MFA directing alumna Lois Anderson. Nov 8-24, 7:30 pm, Frederic Wood Theatre. Tix $24.50/16.50/11.50.

MARY WALSH Canadian comedy icon. Nov 8, 8 pm, Shadbolt Centre for the Arts. Tix $40.

GAD ELMALEH French comedy star performs an evening of standup. Nov 8, 8 pm, Chan Centre. Tix $60.80-71.90.

THE MONTHLY All-female comedy revue.

Nov 8, 8 pm, Yuk Yuk’s Comedy Club. Tix $10.

FRIDAY, NOVEMBER 9 HERITAGE Canadian premiere of Nicola McCartney’s play about the struggles of an Irish woman in Saskatchewan, directed

by Deborah Neville. Nov 9-16, Laura C. Muir Performing Arts Theatre. Tix $10-20.

THE SUPPLIANT WOMEN Aeschylus’s tragedy from 463 B.C., which looks to find meaning in forced migration. Nov 9–Dec 2, 8 am, Jericho Arts Centre. Tix $22-28.

GODFREY American comedian performs two nights of standup. Nov 9-0, Yuk Yuk’s Comedy Club. Tix $25.

TEEN ANGST NIGHT Comedic reading series hosted by Sarah Bynoe. Nov 9, 8 pm, Fox Cabaret. Tix $15/10.

MARC D’ANJOU Organ concert featuring works by Bach, Bedard, Buxtehude, Durufle, Germain, Guilmant, and Vierne. Nov 9, 8-9:30 pm, Holy Rosary Cathedral. Tix $20/$15.

SATURDAY, NOVEMBER 10 THE ENEMY Political drama adapted and directed by the Firehall Arts Centre artistic producer Donna Spencer. Nov 10–Dec 1, Firehall Arts Centre. Tix from $20.

WHEN THERE IS PEACE Chor Leoni Men’s Choir honours the 100th anniversary of the World War I Armistice with a world premiere oratorio by Canadian-American composer Zachary Wadsworth. Nov 10, 3 pm, 8 pm, St. Andrew’s-Wesley United Church. Tix $20-45 (students $10).

PINOCCHIO The Karen Flamenco Dance Company performs its latest production. Nov 10–Dec 8, 5-6 pm, The Improv Centre. Tix $10/$15.

CHARLES RICHARD-HAMELIN Canadian pianist performs works by Schumann and Chopin. Nov 10, 7:30 pm, Vancouver

Arts HOT TICKET

uncovering the wartime traumas of his elder’s childhood—often using live projections of gorgeous miniatures and toys to enact scenes. If you haven’t seen it, don’t miss this artful exploration of a father and son.

LOUIS RIEL DAY CELEBRATION (November 10 at the Orpheum Annex) Just try to sit still while watching the Louis Riel Métis Dancers and master jigger Yvonne Chartrand in action.

MUCH ADO ABOUT NOTHING (November 8 to 24 at the Frederic Wood Theatre) Lois Anderson directs UBC Theatre and Film’s season-opening romp—a Much Ado About Nothing set just after the 2018 Italian Cup soccer championship.

EMPIRE OF THE SON (November 8 to 17 at Gateway Theatre’s Studio B) When the Straight first reviewed Tetsuro Shigematsu’s Empire of the Son, his exquisite ode to his late father, three years ago, we called it “painstakingly honest” and “one of the best shows of the year”. In it, the artist reflects on his relationship to his emotionally distant dad, Playhouse Recital Hall. Tix $15-$50.

THRENODY: REQUIEM AND REMEMBRANCE The Vancouver Cantata Singers explore and share choral music of consolation and reflection. Nov 10, 7:30 pm, Christ Church Cathedral. Tix $10-35.

DIWALI IN B.C. CELEBRATIONS South Asian evening hosted by Rohit Chokhani and headlined by Shiamak Vancouver. Nov 10, 8 pm, The ACT Arts Centre. Tix $32/27/22.

LOUIS RIEL DAY CELEBRATION An evening of Métis dance, music and culture featuring Yvonne Chartrand and the Louis Riel Métis Dancers, Andrea Menard, and JJ Lavallee. Nov 10, 8 pm, The Annex. Tix $24/$19.99.

WORLD OF DANCE LIVE! Live interpretation of the TV show World of Dance. Nov 10, 2:30 & 8 pm, The Centre in Vancouver for Performing Arts. Tix $125/55/39.50.

SODA FOUNTAIN Sketch comedy featuring Aidan Parker and Noa Kozulin, Rae Lynn Carson, Mark Chavez, and Kevin Lee. Nov 10, 10 pm, Little Mountain Gallery. Tix $5.

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BRIAN POSEHN (November 15 to 17 at the Comedy MIX) We love a comedian who wears his nerdiness proudly on his sleeve. And majestically bearded standup Brian Posehn, who you know from shows like The Sarah Silverman Program, Mr. Show, and The Big Bang Theory, riffs on everything from underground bands to Star Wars and Dungeons & Dragons.

Come out and learn to laugh at your inner geek.

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SUNDAY, NOVEMBER 11 CENTUM CORPORA The Little Chamber Music Series That Could presents a concert to mark the 100th anniversary of Armistice Day. Nov 11, 11 am, Mountain View Cemetery.

Free.

LINCOLN CENTER PIANO QUINTET Young stars of the Chamber Music Society of Lincoln Center play Beethoven, Bottesini, and Schubert. Nov 11, 3 pm, Vancouver Playhouse.

Tix $55/$50.

WHEN THERE IS PEACE Chor Leoni Men’s Choir honours the 100th anniversary of the World War I Armistice with a world premiere oratorio by Canadian-American composer Zachary Wadsworth. Nov 11, 3 pm, West Vancouver United Church. Tix $20-45 (students $10).

SONG OF THE DARK WOOD Isabelle Roland (viola) and Bernard Duerksen (piano) perform music by Bach, Mendelssohn, Tchaikovsky, Fauré, Ernest Bloch, and John Williams. Nov 11, 4-5 pm, Roedde House Museum. Tix $15/12.

TAPAITO Classical, flamenco, opera, jazz, Balkan, and world fusion music. Nov 11, 7-9 pm, Goldcorp Stage at the BMO Theatre Centre. Tix $33.

KITTY NIGHTS BURLESQUE—THE LAST MEOW Burgundy Brixx and the Purrrfessor perform their final public burlesque show.

Nov 11, 8 pm, Rio Theatre. Tix $25-$30.

MONDAY, NOVEMBER 12 YUK YUK’S UNIVERSITY GRADUATION SHOWCASE The inaugural class of Yuk Yuks University hits the stage. Nov 12, 8 pm, Yuk Yuk’s Comedy Club. Tix $7.

TUESDAY, NOVEMBER 13 THE HOW AND THE WHY A play about evolution, feminism, and family. Nov 13-17, Studio 1398. Tix $20/$25.

PUBLIC AND PRIVATE Dumb Instrument Dance presents the premiere of Vancouver dance artist Ziyian Kwan’s newest creation.

Nov 13-24, Left of Main. Tix $25.

BEAUTIFUL—THE CAROLE KING MUSICAL Musical tells the inspiring true story of pop legend Carole King’s rise to stardom. Nov 13-18, 8 pm, Queen Elizabeth Theatre. Tix from $30.50.

WEDNESDAY, NOVEMBER 14 READ FOR THE CURE VANCOUVER 2018 Annual literary event where book lovers come together with authors for an evening to support cancer research. Nov 14, Vancouver Marriott Pinnacle Downtown Hotel. Tix $120.

SCA 2018 DANCE MAINSTAGE Work by guest choreographers Joshua Beamish, Noam Gagnon, Anya Saugstad, and Chick Snipper. Nov 14-17, Fei and Milton Wong Experimental Theatre. Tix $7/10/15.

MINE New work by Theatre Replacement about mothers and sons. Nov 14-17, 8-9:30 pm, Shadbolt Centre for the Arts. Tix $15-$36.

THURSDAY, NOVEMBER 15 EASTSIDE CULTURE CRAWL Vancouver’s 22nd annual four-day celebration of visual arts, design, and crafts. Nov 15-18, Eastside Culture Crawl.

SENSE AND SENSIBILITY Renowned both as a classic novel and a celebrated film, playwright Michelle Deines brings Jane Austen’s story of two sisters in challenging circumstances to fresh life on stage. Presented by The BlueShore Financial Centre for the Performing Arts.

Nov 15-24, BlueShore Financial Centre for the Performing Arts. Tix $22/15/10 at www. capilanou.ca/centre.

ARTS LISTINGS are a public service provided free of charge, based on available space and editorial discretion. Submit listings online using the event-submission form at straight.com/AddEvent. Events that don’t make it into the paper due to space constraints will appear on the website.

’70s inspirations. Those influences are all over the band’s new EP, Fantasy Love. Released in mid-October this year, the record has begun to build a following for the group’s new identity, with six tracks filled with synth stabs and funk-fuelled bass lines. “Fantasy Love has a little bit more of an organic sound, with more players on it, but it was recorded in the studio as well,� she says. “The songs are live off the floor, which is kind of what I wanted. I liked getting the inspiration from the recorded studio project and then the live sound.

I thought it would be cool to be in

control of the effects in the studio, and create, like, a soundscape and an atmosphere in the room, and then when you go to play it live you do it in a completely different way.�

Young is excited to travel with the new songs and plans to spend much of the foreseeable future on the road. “That’s kind of the main focus,� she says. “It’s about just sharing the EP with the world.�

by Kate Wilson

Blonde Diamond plays the Commodore Ballroom on Friday (November 9).

WE DO THE WORK: THEN AND NOW CONCERT The Left Coast Labour Chorus presents award-winning songwriters. Nov 18, 7:30 pm, Russian Hall. Tix $20.

UBI X JOEY COOL X THE PALMER SQUARES Concert as a part of the Under Bad Influence tour, with guests Hazmat Crew and Wall-Doh. Nov 20, 9 pm, Rickshaw Theatre. Tix $30/$35.

ROOT DWELLERS MUSIC SHOWCASE Performances by bands Clay Ravens, Year of the Wolf, and Small Town Artillery, plus spoken-word artist Vanessa Panton. Nov 22, 8 pm, Kings Cafe. Tix $10.

PARK SOUND PRESENTS Performances

by Bre McDaniel, Jess Vaira, and Ian Badger.

Nov 24, 7-11 pm, Park Sound Studio. Tix $8-$10.

NORTH SHORE CELTIC ENSEMBLE Youthful Celtic fiddling music. Nov 24, 7:30 pm, Centennial Theatre. Tix $25/$15.

CHOKING SUSAN Female-fronted punk band from Detroit, with local guests Wett Stillettos and Daddy Issues. Nov 25, 7 pm, Pat’s Pub & Brewhouse. Tix $15.

THE WATERMILL PROJECT Vocalistarranger Sara Kim blends traditional South Korean music and jazz. Nov 30, 7 pm, Museum of Vancouver. Tix $16-$19.

MINT RECORDS MANDATORY HOLIDAY FUNCTION AND AWARDS SHOW Featuring DUMB, liĂŠ, woolworm, Faith Healer, NEEDLES//PINS, Energy Slime, Kellarissa, and Necking. Dec 1, 8 pm, Astoria Pub. Tix $10/$12.

HARLEQUIN GOLD Local duo, with guests Dante’s Paradise, Stevie’s Revenge, and Phvil.

Dec 14, 8 pm, Railway Stage and Beer CafĂŠ.

Tix $10.

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Music TIP SHEET

c THIS WILL DESTROY YOU

(November 8 at the Rickshaw) Thinking man’s post-math rockers dive into material from the new double-barrelled release New Others Part One and New Others Part Two.

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USS (November 13 at the Commodore) Depending on how open-minded you are, USS being like “Nirvana Unplugged but there’s a drum and bass party and glow sticks� is either heavenly or hellish.

c FLEETWOOD MAC (November 14 at Rogers Arena) The greatest band

in the history of drama-drenched AOR makes a case for why no one needs Lindsey Buckingham.

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CRYWANK (November 15 at 333) Manchester’s antifolk unit has been told repeatedly it has the worst band name ever, usually by people who’ve never cried while wanking.

REDD KROSS Alt-rock band from Hawthorne, California, with guests the Dale Crover Band.

Dec 15, Biltmore Cabaret. Tix $19.99-$24.99.

ELI ESCOBAR New York City house and disco DJ. Dec 21, 10 pm, Open Studios. Tix $30.

MARK FARINA House-music DJ, with guests Jesse Hills, Krown, and Luke McKeehan. Dec 29-30, 9 pm–2:30 am, The Imperial. Tix $25-30.

AARON PRITCHETT Canadian country singer-songwriter, with guests Kira Isabella and David James. Jan 15, Vogue Theatre. Tix $30-$34.99.

WARBLY JETS Rock quartet from L.A. Jan 15, 9 pm, Biltmore Cabaret. Tix on sale Nov 9, 7 am, $12.

EMILY KING R&B singer-songwriter from New York City. Jan 27, 8 pm, Fortune Sound Club. Tix on sale Nov 9, 10 am, $29.50.

EFRIM MANUEL MENUCK MRG Concerts presents member of Godspeed You! Black Emperor. Jan 29, Biltmore Cabaret. Tix $14.50.

DOUG AND THE SLUGS Vancouver pop-rock band, with guest Jim Byrnes. Feb 2, 8 pm, Commodore Ballroom. Tix on sale Nov 9, 10 am, $40.

BOB SEGER AND THE SILVER BULLET BAND American rock legend performs on his final tour, with guests the Record Company.

Feb 7, 7:30 pm, Rogers Arena. Tix on sale Nov 9, 10 am, $135/95/75.

MOTHER MOTHER Vancouver indie-rock band. Feb 7, 8 pm, Orpheum Theatre. Tix on sale Nov 9, 10 am.

THE BOOTS AND BABES BALL Featuring country artists Madeline Merlo, the Reklaws, and Shawn Austin. Feb 14, 8:30 pm, Commodore Ballroom. Tix on sale Nov 9, 10 am, $27.75.

QUINN XCII Hip-hop artist from Detroit, with guests Ashe and Christian French. Mar 28, 8 pm, Commodore Ballroom. Tix on sale Nov 9, 10 am, $32.50.

JACK & JACK Pop-rap duo from Omaha, Nebraska. Apr 6, 8 pm, Rio Theatre. Tix on sale Nov 16, 10 am, $25.

KEVIN MORBY American indie-rock singersongwriter, with guest Sam Cohen. May 15, Imperial . Tix $24.50-$28.

DAVID GRAY Folk-rock singer-songwriter from England. Jun 21, 7 pm, The Centre in Vancouver for Performing Arts. Tix on sale Nov 9, 10 am, $89/75/49.

OZZY OSBOURNE Heavy-metal legend performs on his final tour, with guests Megadeth. Jul 11, 7:30 pm, Rogers Arena. Tix on sale Nov 9, 10 am, $250/149/99/69/45.

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WEDNESDAY, NOVEMBER 7 BRE MCDANIEL Local folk singersongwriter, with guests Kuri and Kimmortal Nov 7, 7:30 pm, Railway Stage and Beer CafĂŠ.

Tix $10.

WEDNESDAY NIGHT BLUES & BREWS The Steve Kozak Band performs with pianist Dave Webb. Nov 7, 7:30 pm, Pat’s Pub & Brewhouse.

No cover.

BIRDS OF CHICAGO Americana/folk band led by husband-and-wife duo of JT Nero and Allison Russell. Nov 7, 8 pm, Rio Theatre. Tix $20.

EASY MAC Calgary rapper, with guests Golden BSP and Karma Knows. Nov 7, 8 pm, Venue. Tix $20.

RICHARD GARVEY Singer-songwriter, with guests Goodnight Johnboy, Johnny Macrae, and Mary Matheson. Nov 7, 8-11 pm, WISE Hall. $10 donation.

MAC AYRES R&B singer, multiinstrumentalist, and producer, with guest Jack Dine. Nov 7, doors 8 pm, show 9 pm, Fox Cabaret. Tix $15 (plus service charge) at www. ticketweb.ca/.

see next page

> Go on-line to read hundreds of I Saw You posts or to respond to a message < EL CAMINO'S ARE AWESOME

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You walked into Cartems while Bye Bye Bye by NSYNC was playing on the speakers. We made eye contact and lip synced the chorus to each other. Then, I passed you your donut and you were on your way. I wish I had had the chance to actually say hi. Coffee? Donuts? Lip sync battle? Hit me up!

RUNNING AT TROUT LAKE LOOKING LIKE A DIME PIECE!

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I SAW A: I AM A: WHEN: OCTOBER 31, 2018 WHERE: Trout Lake

s

You ordered a pizza for your D&D session and when I brought it to you, it was a bit... sideways. I was having a pretty brutal day and instead of adding to it, you were gracious and kind. Thanks for that. I really hope your game turned out better than your lunch.

My friend and I were walking our ill-behaved dogs at Trout Lake and you kept running back and forth with your chocolate doodlely doo. Pretty sure you were laughing at our poor parenting skills while you locked eyes with me. Would love to run after you ever day of the week. Hit me up!

OUTDOORSY GUY AT DOG PARK IN RICHMOND

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RENAMING OF NAMES PARAMEDIC

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BYE BYE BYE BOY I SAW A: I AM A: WHEN: NOVEMBER 2, 2018 WHERE: Cartems Downtown

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I SAW A: I AM A: WHEN: NOVEMBER 4, 2018 WHERE: Richmond- #5 and Bridgeport Road CHEVRON

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I SAW A: I AM A: WHEN: NOVEMBER 4, 2018 WHERE: East Van

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JOHN MELLENCAMP (November 14 at Abbotsford Centre) Make the trek to Abbotsford and you just might discover that America isnâ&#x20AC;&#x2122;t the only place where little pink houses still exist.

MUSIC LISTINGS

CONCERTS JUST ANNOUNCED

Rubyâ&#x20AC;&#x2122;s Ukes proudly presents

HU PE

the instrumentation, so I wouldnâ&#x20AC;&#x2122;t forget it. When I got back to Canada, I went to Vancouver. My brother was studying recording arts and so we recorded it in his bathroom in his tiny apartment.â&#x20AC;?

Inspired by that songwriting experience, Young next joined local indie darlings Sex With Strangers, before striking out on her own. Calling up friends in bands, she poached four players and started an original group she dubbed Youngblood, after her childhood nickname. The newly minted five-piece, however, ran into trouble as soon as its songs began picking up traction. â&#x20AC;&#x153;When you start playing music, you want to be successful, but I donâ&#x20AC;&#x2122;t think we thought it would take off as quickly as it did,â&#x20AC;? she says. â&#x20AC;&#x153;So I just picked a name that I liked, and it maybe wasnâ&#x20AC;&#x2122;t as strategic as it should have been for SEO [search-engine optimization]. Once we started becoming a bit more popular, people would try to find us on the Internet after shows. I would have to stand next to them and give them the specific URL.â&#x20AC;?

Biting the bullet to help increase hits, the group recently changed its name from Youngblood to Blonde Diamondâ&#x20AC;&#x201D;a moniker that Young believes helps encapsulate the bandâ&#x20AC;&#x2122;s retro-futuristic sound and

$ 8 N

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I SAW A: I AM A: WHEN: OCTOBER 25, 2018 WHERE: Back of Apt to St. Paulâ&#x20AC;&#x2122;s You picked me up around back & your easy demeanour made the ride to St. Paulâ&#x20AC;&#x2122;s a bit too short, even for someone in pain. You had a ridiculously intuitive & thoughtful way of knowing how to reduce my pain as much as possible - almost as though you had some prior training or experience..? Seriously though, you were cool, fun, down to earth & understated... & I didnâ&#x20AC;&#x2122;t have an opportunity to say thanks... so, thanks, C. P.S. -the hand gesture alongside the name change sealed the deal - you really are welcome to introduce me whenever you like (we can work on your French). If you see this & are up for a thank-you/would like to get to know you better coffee, drop me a line. Best part of the whole â&#x20AC;&#x2DC;emergencyâ&#x20AC;&#x2122; experience.

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I SAW A: I AM A: WHEN: OCTOBER 30, 2018 WHERE: Dog Park by South Arm of Fraser River We crossed paths at the dog path near the Crown plant. Your smaller dogs and my big dogs really got along. You seemed to enjoy our chat and you stayed a long time. Could you tell how attractive you are to me? Was that eye contact as warm as I felt it was? Want to get to know each other better?

WE MET ON THE #7 BUS

DEVIL'S NIGHT IN NEW WEST

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I SAW A: I AM A: WHEN: OCTOBER 30, 2018 WHERE: New Westminster 19h30 outside Donald's at River Market, New West. Dark light rain cold, You? Shirtless.

Brazen. Bristling. As often.

Why?

A FRIENDLY AND BEAUTIFUL SMILE AT STARBUCKS

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I SAW A: I AM A: WHEN: OCTOBER 29, 2018 WHERE: Starbucks Downtown The first time I came to the Starbucks you work at was about 1 month ago. I tried to make small talk while you were taking my order. I learned that youâ&#x20AC;&#x2122;re from the UK because of your accent and also your name on your name tag. There are a million Starbucks in the city but I keep coming back to yours because I want to see your smile every morning. Your name is a 3 letter word and it starts with the letter â&#x20AC;&#x2DC;Râ&#x20AC;&#x2122;. Can I buy you a cup of coffee?

MISSED CONNECTION ON THE BUS

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I SAW A: I AM A: WHEN: OCTOBER 28, 2018 WHERE: BC Bus 14 to Richmond We almost sat next to each other on the 14 to Richmond today, you remarked on the Spanish girls that were on the wrong bus. Coffee?

FUTURE MEMBER OF THE CAG

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I SAW A: I AM A: WHEN: OCTOBER 30, 2018 WHERE: #7 Bus Downtown

I SAW A: I AM A: WHEN: OCTOBER 28, 2018 WHERE: Contemporary Art Gallery

We met on the #7 bus going downtown on Tues. Oct. 30th.

Your stop was before mine and we didn't get enough time to exchange numbers. You are 1/2 German and do photo editing.

I'm a nice guy that likes you. Let's get together for a coffee or lunch soon. I hope you see this ad.

You wandered into the bookstore at the Contemporary Art Gallery, while waiting to sign up for a membership with the gallery. I remarked that the books looked prettier than the art exhibit. Me: purple jacket and purple backpack. Letâ&#x20AC;&#x2122;s wander in museums?

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Visit straight.com to post your FREE I Saw You _ NOVEMBER 8 â&#x20AC;&#x201C; 15 / 2018 THE GEORGIA STR AIGHT 31

MUSIC LISTINGS from previous page

THE DEVIL MAKES THREE Americana band from Santa Cruz, California, blends bluegrass, old-time, country, folk, blues, jazz, and ragtime. Nov 7, 9 pm, Commodore Ballroom.

Tix $35.25.

THURSDAY, NOVEMBER 8 JUSTIN TIMBERLAKE American pop–R&B singer-songwriter and former NSYNC member performs on his Man of the Woods Tour. Nov 8-9, Rogers Arena. Nov. 8 show POSTPONED to Feb 14 and Nov 9 show POSTPONED TO Feb 15.

ROEDDE HOUSE JAZZ SERIES Blues, jazz, and originals by Bill Coon (guitar) and Paul Rushka (bass). Nov 8, 7-9 pm, Roedde House Museum. Tix $15/12.

TROYE SIVAN Australian dream-pop singer, songwriter, actor, and YouTuber, with guests Kim Petras and Carlie Hanson. Nov 8, 7:30 pm, Queen Elizabeth Theatre. Tix $59.50/49.50/39.50.

T. BUCKLEY Alberta roots singer/songwriter performs an album release concert. Nov 8, 8 pm, The Heatley.

WEST MY FRIEND Quirky indie- roots trio draws from jazz, classical, and folk. Nov 8, 8-11 pm, WISE Hall. $10 donation.

AQUARELA DO BRASIL Vancouver Latin American Cultural Centre presents a celebration of Brazilian music and dance. Nov 8-9, 8 pm, Vancouver Playhouse. Tix from $35/20.

REUBEN AND THE DARK Indie-folk band from Calgary. Nov 8, 9 pm, Imperial Vancouver. Tix $15.

THIS WILL DESTROY YOU American experimental-rock band performs tunes from new album. Nov 8, 9 pm, Rickshaw Theatre.

Tix $18.

FRIDAY, NOVEMBER 9 MATTHEW DEAR Electronic avant-pop artist from the States, with local guests Iain Howie, tokiomi, and Nathan Hall. Nov 9, Rickshaw Theatre. Tix $25-35.

ANGELO FERRERI Italian house-music DJ performs a three-hour set, with guest Jesse Hills. Nov 9, MagnetiQ Club Lounge. Tix $20-$35.

PIVOT LEGAL SOCIETY PASSION FOR JUSTICE Fundraiser for PIVOT featuring Queer as Funk with Dawn Pemberton. Nov 9, 7-11:30 pm, WISE Hall. SOLD OUT. INCOGNITO Local blues veterans, with guest Dameian Walsh. Nov 9, 8 pm, Railway Stage and Beer Café. Tix $10.

The Georgia Straight Confessions, an outlet for submitting revelations about your private lives—or for the voyeurs among us who want to read what other people have disclosed.

Scan to confess

My buddy had an affair. His wife caught him and his world imploded. He has done everything she wanted to win her back. But now they are having their third child. It’s hard to watch because everything that he was unhappy about in his life still exists and now he is going back to the beginning with a baby I know he doesn’t want. Why do people try to solve their issues with puppies and babies?

Canadian politics is just as divisive as American politics.

Hard working people and those that want more and more of the hard working peoples money.

My Cat He’s “A Cat’s Cat”.

Shared Backyards For such avid gardeners, my neighbours sure don’t know how to maintain a proper compost.

Raising money

Careers

Bison Group Management Ltd

o/a Pemberton Hotel is HIRING Cleaning Supervisor Permanent, full-time. JobSalary: $23.00 hourly.

Skills requirements: Good English, Customer service oriented. Previous experience as a cleaner or similar position is required. Previous experience as a cleaning supervisor is an asset. Education: Secondary school. Main duties: Supervise and co-ordinate the activities of cleaners; Establish work schedules and procedures; Hire and train new cleaning staff; Resolve work-related problems and customer complaints; Inspect rooms to ensure cleanliness standards are met; Recommend or arrange for additional services required such as repair works.

Job location and business address: 7423 Frontier St, Pemberton, BC V0N 2L0 Please apply by E-mail: hotelpemberton@gmail.com

stay connected @GeorgiaStraight

CHELSEA AMBER Canadian singersongwriter performs in support of Compassion Canada. Nov 10, 7-9:30 pm, Bez Arts Hub. Tix $20.

SHAWN HOOK Canadian pop-rock singersongwriter. Nov 10, 7:30 pm, Bell Performing Arts Centre. Tix from $29.50.

GROOVE NIGHT Featuring performances by local acts Mostly Marley, Tiara, and Ember to None. Nov 10, 8 pm, Railway Stage and Beer Café. Tix $10.

POLAND’S INDEPENDENCE PARTY Dance party featuring Spanish and Latin music by Tapaito. Nov 10, 8 pm, Polish Community Centre. Tix $10.

THE PURSUIT OF HAPPINESS & THE NORTHERN PIKES Canadian guitar-rock bands from the ‘90s play a coheadlining bill.

Nov 10, 8 pm, Commodore Ballroom. Tix $35.

MARTIN KERR The Rogue Folk Club presents singer-songwriter from England.

Nov 10, 8 pm, St. James Hall. Tix $12-24.

SATURDAY NIGHT SOUL R&B, soul, and worldbeat music by local band Ardent Tribe.

Nov 10, 9 pm, Fairview Pub. Tix $10.

ANGELA VERBRUGGE QUARTET Swing and pop songs of the 30’s and 40’s. Nov 11, 4-5 pm, Northwood United Church. Admission by donation.

REMEMBRANCE DAY JAZZ VESPERS The Angela Verbrugge Quartet performs songs popular during World War II. Nov 11, 4-5 pm, Northwood United Church. Admission by Donation.

DINNER & TINGS Charity event features reggae by Kassa Jones and rap by Arami The Corrector. Nov 11, 6-11 pm, The Reef Caribbean Restaurant. Tix $25.

RAVEN British metal band, with guests Extinction AD, Mobile Deathcamp, and Hellchamber. Nov 11, 7-11:30 pm, WISE Hall.

Tix $17.

MONDAY, NOVEMBER 12 THE OLD GROWTH QUARTET Band performs traditional and original music with deep roots in bluegrass, country, and folk.

Nov 12, 7 pm, ANZA Club. Tix $20/15.

THE PAPER KITES Indie rock-folk band from Melbourne, Australia. Nov 12, 7 pm, Commodore Ballroom. Tix $27.50.

KORPIKLAANI Folk-metal band from Finland, with guests Arkona. Nov 12, 7 pm, Rickshaw Theatre. Tix $29.50.

OPEN MIC Bring your instrument of choice and play your songs. Nov 12, 19, 26; Dec 3, 10, 17, 8:30 pm, Railway Stage and Beer Café.

Free Entry.

TUESDAY, NOVEMBER 13

I’ve been told I can’t ask this question or I will offend people, although I’m not sure why. I really need to understand this whole thing where people do something challenging or unusual to raise money for a cause or an ngo. Someone once asked me to sponsor then for some kind... (con’t @straight.com)

Employment EMPLOYMENT

SATURDAY, NOVEMBER 10

SUNDAY, NOVEMBER 11

Wrong Direction

Visit

EARLY SPIRIT The Rogue Folk Club presents an evening of folk, rock, Celtic, Cajun, and jazz music. Nov 9, 8 pm, St. James Hall. $12-24.

LEISURE CLUB Blue Light Sessions presents an EP-release concert. Nov 9, 8 pm, Blue Light Studio. Tix $15/$20.

VINCENT RANDAZZO Locals Sam Balson and Matt Harvey support touring songwriter Randazzo. Nov 9, 8-11 pm, Park Sound Studio.

Tix $8-$15.

CROOKED COLOURS Electronic-music trio from Australia performs tunes from debut album Vera. Nov 9, 9 pm, Fortune Sound Club.

Tix $17.50.

FRIDAY JAZZ Cabaret jazz-funk by Top Hat Goblins. Nov 9, 9 pm, Tyrant Studios. Tix $10.

DEAR ROUGE Vancouver-based electronicrock band composed of Drew and Danielle McTaggart, with guests Modern Space and Blonde Diamond. Nov 9, 9:30 pm, Commodore Ballroom. Tix $21.50.

to post a Confession

JOSHUA REDMAN: STILL DREAMING Tenor saxophonist’s contemporary tribute to free jazz. Nov 13, Chan Shun Concert Hall.

NICKI MINAJ AND FUTURE Hip-hop artists co-headline on the Nickihndrxx Tour. Nov 13, 6:30 pm, Rogers Arena. Tix $55/77/97/123/183.

SONGBIRD NORTH: WHERE WRITERS SING & TELL Shari Ulrich hosts performances by Melanie Dekker, Madeleine Roger, and Gordie Tentrees. Nov 13, 7:3010 pm, Roundhouse Community Arts & Recreation Centre. Tix $18.

A lbum OF THE WEEK DAVERS DAVERS (OSCAR ST.)

Known up until now as one of the two singer-songwriters in Victoria’s chilled-out Current Swell, Dave Lang steps away from the veteran unit with his first solo release, Davers. If his day job makes you want to fire up a joint and hang on the beach in front of Ben Harper’s place, this five-song outing is for when the November rains roll in and the best thing in the world is a cabin with a roaring fire.

Lang isn’t totally dialled down on Davers, with “Heart of Glass” buoyed by sun-faded Laurel Canyon guitars and warm splashes USS Canadian alt-music duo performs on its Bonavista Tour, with guests the Elwins. Nov 13, 9 pm, Commodore Ballroom. Tix $29.50.

THE STEVE KOZAK BAND Local bluesrockers play a pay-what-you-can gig. Nov 13, 9:30 pm, Guilt & Company. Pay what you can.

WEDNESDAY, NOVEMBER 14

of piano, and “I Watched You Grow Up” an unabashedly joyful love letter to fatherhood. Still, it’s the quiet moments that really stand out, from the comedowncountry opener “Brother Brother” to the baroque-folk closer “Put Your Pain on Me”.

Davers starts out the plaintive “Tooth and Nail” by singing “When I was young I learned that I could do anything.” Based on the evidence presented here, that includes reinventing himself as an artist who understands that sometimes you want to pour a healthy two fingers of Ardbeg Ten Years Old and turn the lights down low.

Support Groups

by Mike Usinger

AL-ANON FAMILY GROUPS Does someone else's drinking bother you?

Al-Anon help.guests Twin Vancouver blues-rock duo,can with We are a 8 support for those who Bandit. Novbeen 16-17, pm, group Fox Cabaret.

Tixhave $25. affected by another's drinking problem.

ANDRE NICKATINA Rapper San For more information pleasefrom call: 604-688-1716

Francisco performs material from latest Anorexics & Bulimics Anonymous release Pisces.

Nov 16,peer doors 9 pm, show 12 Step based support program which10 addresses the mental, emotional, & pm, Harbour Event Centre.

Tix $40. spiritual aspects of disordered eating Tuesdays @ 7 pm @ Avalon Women's Centre

5957 West Blvd - 604-263-7177 SATURDAY, NOVEMBER 17

STEVE KOZAK BAND Local blues-rockers perform with pianist Michael Kalanj. Nov 14, 7:30 pm, Pat’s Pub & Brewhouse. No cover.

FLEETWOOD MAC American pop legends, currently composed of vocalist Stevie Nicks, vocalist-keyboardist Christine McVie, drummer Mick Fleetwood, bassist John McVie, lead guitarist Mike Campbell, and guitarist-vocalist Neil Finn. Nov 14, 8 pm, Rogers Arena. Tix $229.50/179.50/99.50/69.50.

JOHN MELLENCAMP Heartland rocker from Indiana (“Hurts So Good”, “Pink Houses”).

Nov 14, 8 pm, Abbotsford Centre. Tix $89.50/69.50/59.50/39.50.

THURSDAY, NOVEMBER 15 CRYWANK James Clayton performs an intimate solo show. Nov 15, 8 pm, 333. Tix $15.

MARJ Vancouver singer-songwriter, with guests Michael Gresham, Atlas Thrust, and Chill Pilgrim. Nov 15, 8 pm, Railway Stage and Beer Café. Tix $10.

FRIDAY, NOVEMBER 16 WEST COAST BIG BAND FESTIVAL Sixteen Lower Mainland bands performing everything from traditional swing to modern jazz fusion to Disney classics. Nov 16-18, Northwood United Church. Free.

STEVE KOZAK TRIO Local blues-rockers play an early show. Nov 16, 7-9 pm, Fairview Pub. Tix $5.

TERRI-LYNN WILLIAMS-DAVIDSON WITH BILL HENDERSON & CLAIRE LAWRENCE B.C. trio is joined by Jodi Proznick on bass and Saffron Henderson and Camille Henderson on background vocals. Nov 16, 7:30-9:30 pm, Genesis Theatre. Tix $30.

GARRETT Vancouver prog-rock band, with guests HEAD, Abandon Paris, and Beautiful Frenzy. Nov 16, 8 pm, Railway Stage and Beer Café. Tix $10.

FRIDAY JAZZ Vocal jazz and Broadway classics by Steffanie Davis. Nov 16, 8 pm, Tyrant Studios. Tix $10.

THE SMALL GLORIES Canadian folk duo composed of Cara Luft & JD Edwards. Nov 16, 8 pm, St. James Hall. Tix $12-24.

THE HARPOONIST & THE AXE MURDERER

THE GREAT CANADIAN SONGBOOK Companion Featuring performances by Ken Lavigne, Tiller’s Folly, and Diyet. Nov 17, 7 pm, The Chuck Mobley Theatre (Correlieu School). Tix $25/$20.

STEVE MADDOCK’S JAZZED UP BROADWAY Jazz singer Maddock is backed 1743 Robson D/town. up by Sharon Minemoto (piano),St, Craig Scott (drums), and Dave Guiney (bass). Nov 17, 7:30 pm, Queens Avenue United Church. Tix $20/15.

VINTAGE SWING Social swing-dancing to Company B Jazz Band. Nov 17, 8 pm, Anvil Centre. Tix $25/$15. Massage THE FALLAWAYS Rock band from Kelowna, with guests the Carbons, Friday Night Fires, and Honeyvelvet.

8 pm, Railway Healthy & Nov loving17, relationships alludingStage you? and Beer Café.CODA: Tix $10.

Co-dependency Anonymous 12 step Recovery: 604- 515-5585 YAO + TRÉSOR OTSHUDI Performances as part of the 24th edition of the Coup de coeur francophone de Vancouver. Nov 17, 8-10 pm, Studio 16. Tix start at $10.

HOT CLUB SWING Trumpeter Trevor Whitridge leads his swinging quintet. Nov 17, 8-11:55 pm, Roundhouse Community Arts & Recreation Centre. $15.

ALL THEM WITCHES Nashville rock band plays tunes from new album ATW, with guests Handsome Jack. Nov 17, 9 pm, Rickshaw Theatre. Tix $18.

SEQUENTIAL CIRCUS Electronic music showcase features performances by AVR, BIG ZEN, lazy d, RiDylan, Sara Gold, and tokiomi.

Nov 17, 10 pm, Open Studios. Tix $20/25.

ROXANNE'S DAY SPA 604-682-1278

MUSIC LISTINGS are a public service provided free of charge, based on available space and editorial discretion. We can’t guarantee inclusion, and we give priority to events taking place within one week of publication. Submit listings online using the event-submission form at straight.com/ AddEvent. Events that don’t make it into the paper due to space constraints will appear on the website.

on the web!

For up-to-the-minute searchable Music Listings on your phone, visit

straight.com

SCG Sign City Group Inc.

o/a SCG Group Inc. is looking for Carpenters.

Greater Vancouver, BC. Permanent, Full time.

Salary: $26.50 per/h. Skills requirements: Experience 3-4 years, Good English. Education: Secondary school. Main duties: Read and interpret blueprints, Determine specifications ;Operate measuring, hand and power tools; Measure, cut and join lumber and wood materials or lightweight steel; Prepare layouts in conformance to construction blueprints; Build different wood forms and install trim items as required; Supervise helpers and apprentices; Follow established safety rules.

Company’s business address: Unit 103, 17 Fawcett Rd, Coquitlam BC, V3K 6V2 Please apply by e-mail: scggroupinc@gmail.com

Mind EMPLOYMENT Body & Soul Aesthetics

$60/30min (incl. tips) Deep Tissue Massage 410 E/Broadway 604-709-6168

32 8 – 815–/15 2018 32 THE THEGEORGIA GEORGIASTRAIGHT STR AIGHTNOVEMBER NOVEMBER / 2018

SUFFERING FROM

CANCER, ALS, PARKINSON’S? If you or someone you love is suffering or dying of a major illness or if you have lost a loved one too early in life, a documentary filmmaker from Vancouver would like to speak to you.

The filmmaker is examining the lack of cures and effective treatments for illnesses in Canada and would like to hear about your thoughts on the pain, loss, cost, and your journey.

Please contact: Gary Charbonneau

604-315-4242 evotioninc@gmail.com

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10AM - 10 PM Hiring

Hiring One full-time Cook $16-18/hr (based on exp.) & tips High school, Speak Basic English, 2 yrs.-commercial cooking exp. Puebla cooking-asset Duties: Prepare & cook complete meals or individual Mexican (Puebla) dishes & foods, Schedule/supervise kitchen helpers, Oversee kitchen operations, Maintain inventory & records of food, supplies & equipment, Plan menus/determine size of food portions, estimate food requirements & costs, monitor/order supplies, Clean kitchen & work area Cinco De Mayo Mexican Grill 102 - 200 W Esplanade, North Vancouver BC V7M 1A4 Email: cincodemayocanada@hotmail.com

EMPLOYMENT Callboard National Association for the Advancement of Indigent People (Estd in 1995 in England and British Columbia as Free Legal Research/Assistance now national in scope). Sir/Dr James Charles Chapala BA (UBC) LLB (UBC) PhD (Universityof Lancaster, England) McKenzie Friend. Free Legal Assistance.

General Practice. 40 years experience in the Justice System. Telephone: 604-876-6944

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SUNNY YOGI! Reiki & Detailed Bodywork Session by Vegan

Have you always wanted a store with vintage clothes or your own designs? Willing to share half the rent? $2500 for November & December. Prime location @ 4th & Macdonald.

Use of computer and car an asset. Call Jeanie at 604-215-0020 or 236-757-1890

EMPLOYMENT Music

FALL SPECIAL Bodyscrub $79/70min. Waxing 20% off. Massage $28/half hour 8 - 4287 Kingsway 604-438-8714

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LILLY WELLNESS SPA GREAT SERVICE & PACKAGE! 4159 Fraser St. Van@ 26th Ave.

ROXANNE'S DAY SPA 1743 Robson St, D/town.

604-682-1278 202-1037 W.Broadway 604-739-3998 Hotel Service Musicians Available

Place your FREE musicians WANTED & AVAILABLE ads by going to www.straight.com create a classified account & place your ad for Free or fax to 604-730-7016 All FREE ads are based on space availability.

Gay EMPLOYMENT Personals Massage

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Join Our Support, Education & Action Group

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MOOD DISORDERS SUPPORT GROUPS We have peer-led support groups all over the Lower Mainland for people with depression, bipolar disorder and anxiety led by well-trained facilitators.

Group sessions during days, evenings, or Saturdays.

For location and times of groups:

www.mdabc.net 604-873-0103 Nar-Anon North Van

604.330.8133

July 11th 6:30–8:30pm (8 weeks) Women who experienced any form of male violence CALL Vancouver Rape Relief & Women's Shelter 604-872-8212

LIVING THROUGH LOSS COUNSELLING facilitated support group for people who are grieving the death of a significant person.

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EMPLOYMENT Personals

Bodywork

Anxiety? Depression?

Free Mental Wellness Support Group held on Saturdays (10:30 am – 12:30) Promotes a holistic approach to healing (body, mind & spirit). Networking and interactive learning experience in a safe, non-judgmental environment.

For more information call 604-630-6865 or visit www.mentalwellnessbc.ca

Princess & E. Georgia Body Massage!

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Anorexics & Bulimics Anonymous 12 Step based peer support program which addresses the mental, emotional, & spiritual aspects of disordered eating Tuesdays @ 7 pm @ Avalon Women's Centre 5957 West Blvd - 604-263-7177

Oak St. Vancouver 604-266-6800

Musicians

Join a FREE YWCA Single Mothers support group in your local community.

Share information, experiences and resources. Child care is provided for a nominal fee.

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RELIEVE ROADRAGE

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Living with IBD can often be overwhelming, but you're not alone! 3rd Wed of each month the GI Society holds a free IBD support group meeting for patients & their families to come together in an open, friendly environment. 7:00pm at #231 - 3665 Kingsway. For more information call 604-873-4876

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Massage

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Parkinson Society BC

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offers over 50 volunteer-led support groups throughout BC. These provide people with Parkinson's, their carepartners & families an opportunity to meet in a friendly, supportive setting with others who are experiencing similar difficulties.

Some groups may offer exercise support.

For information on locating a support group near you, please contact PSBC at 604 662 3240 or toll free 1 800 668 3330.

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is now open at 2720 W/4th Ave. (near Macdonald), selling vintage clothes, heirloom designs, antiques, lace, china, Battenburg lace duvets, children's wear, Peter Rabbit baby quilt sets, cards, giftware etc.

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Have a look at what we have available right now!

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Bath Houses

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can last anywhere from 15 minutes (for teenagers) to 24 hours (for old-timers). It’s a hormone thing: after a guy comes, his pituitary gland pumps prolactin into his bloodstream—and prolactin blocks dopamine, the hormone that makes a dude horny and keeps him horny.

But some men release very little prolactin and consequently have short refractory periods; a handful of men have no refractory period at all and are capable of multiple orgasms. You don’t mention the ability to come again and again, but you do sound exceptional in that you don’t lose your erection after you come. Your wife also sounds exceptional, NORM, since most orgasmic women are capable of having multiple orgasms—but most women ≠ all women. (I’ve always loved what groundbreaking sex researcher Mary Jane Sherfey wrote in 1966: “The more orgasms she has, the more she can have—for all intents and purposes, the human female is sexually insatiable.” [Emphasis hers.] ) But again, NORM, there’s nothing wrong with either of you. It’s just that your norm isn’t the norm—and that’s only a problem if you choose to regard it as one.

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SAVAGE LOVE

It ain’t broke if that’s your nature

by Dan Savage

b I’VE BEEN spending a lot of time lately thinking about myself and my sexuality and my romantic self. I can log on and easily find someone to fuck. I’m a bear-built top guy. There are ladies in my life who choose to share their beds with me. I can find subs to tie up and torture. (I’m kinky and bi.) What I can’t find is a long-term partner. The problem is that after I fuck/sleep with/ torture someone, my brain stops seeing them as sexual and moves them into the friend category. I have friends that I used to fuck regularly that now it’s a chore to get it up for. Sure, the sex still feels good, but it’s not passionate.

And when it’s all said and done, they’re still in the “friend” category in my brain. Some of them have suggested being more, but I’ve recoiled. There’s nothing wrong with them but they’re friends, not potential partners. I’m 32, and my siblings are married and having kids, and the people I grew up with are married and having kids. And here I am not able to find a long-term significant other. Am I broken? Should I just accept that, at least for me, sexual partners and domestic/romantic partners will always be separate categories?

- Always Alone

you’re not like most everyone else? What if this is just how your sexuality works? What if you’re wired—emotionally, romantically, sexually—for intense but brief sexual

What if

connections that blossom into wonderful friendships? And what if you’ve been tricked into thinking you’re broken because the kinds of successful long-term relationships your siblings and friends have are celebrated and the kinds of successful short-term relationships you have are stigmatized?

If your siblings and friends want to have the kinds of relationships they’re having—and it’s possible some do not—they will feel no inner conflict about their choices while simultaneously being showered with praise for their choices. But what are they really doing? They’re doing what they want; they’re doing what makes them happy; they’re doing what works for them romantically, emotionally, and sexually.

And what are you doing? Maybe you’re doing what you want, AA, maybe you’re doing what could make you happy. So why doesn’t it make you happy? Maybe because you’ve been made to feel broken by a culture that holds up one relationship model—the partnered and preferably monogamous pair—and insists that this model is the only healthy and whole option and that anyone who goes a different way, fucks a different way, or relates a different way is broken.

Now, it’s possible you are broken, of course, but anyone could be broken.

You could be broken; I could be broken; your married siblings and friends could be broken. (Regarding

your siblings and friends: not everyone who marries and has kids wanted marriage and kids. Some no doubt wanted it, AA, but others succumbed to what was expected of them.) But here’s a suggestion for something I want you to try, something that might make you feel better because it could very well be true: try to accept that, for you, sexual partners and domestic/romantic partners might always be separate, and that doesn’t mean you’re broken. If that self-acceptance makes you feel whole, AA, then you have your answer.

I might make a different suggestion if your brief-but-intense sexual encounters left a lot of hurt feelings in their wake. But that’s not the case.

You hook up with someone a few times, you share an intense sexual experience, and you feel a brief romantic connection to them. And when those sexual and romantic feelings subside, you’re not left with a string of bitter exes and enemies but with a large and growing circle of good friends. Which leads me to believe that even if you aren’t doing what everyone else is doing, AA, you’re clearly doing something right.

P.S. Another option if you do want to get married someday: a companionate marriage to one of your most intimate friends—someone like you, AA, who also sees potential life partners and potential sex partners as two distinct categories with no overlap—

and all the Grindr hookups and BDSM men are, or Broadway shows, as so sessions you like with one-offs who be- many gay men are. The only “problem” come good friends. here is that your brother’s obsession makes his dick hard—and to be clear, b I KNEW my little brother had an odd RUBBER, the problem is yours, not fascination with rubber that would his. An erotic obsession or passion is likely become sexual. He would steal just as legitimate as a nonerotic one. rubber gloves and hide them in his And even if I thought your brother had room, and there was a huge meltdown a problem—and I do not—nothing I when our mother found a gas mask in wrote here would result in him liking his room when he was 12. My brother his rubber clothes, rubber buddies, or is in his 30s now and has a closet full rubber fetish events any less. of rubber “gear” that he dresses in pretty much exclusively. (When he’s b I’M A 28-year-old straight man marnot at work, he’s in rubber.) All of his ried to a 26-year-old straight woman. friends are rubber fetishists. When he My wife and I were watching a video travels, it’s only to fetish events where about sex and the female orgasm, he can wear his rubber clothing pub- and they were talking about how, unlicly. He will date only other rubber like men, women don’t have a refracfetishists, which seems to have severely tory period after orgasm. We were limited his romantic prospects, and he confused because we are almost the posts photos of himself in rubber to his complete opposite. I have never exsocial-media accounts. I read your col- perienced drowsiness, lessened sensiumn and I understand that kinks aren’t tivity, or quickened loss of erection chosen and they can be incorporated after orgasm. My wife, on the other into a person’s sex life in a healthy way. hand, doesn’t even like me kissing her But my brother’s interest in rubber bits after orgasm. She says they feel tender and sore afterward, and this feeling seems obsessive. Your thoughts?

- Rubbered Up Baby Brother’s Erotic Rut can last for hours. Is this normal?

If your brother was obsessed with surf-

- Newlywed’s Orgasms Rarely Multiply

ing or snowboarding and built his life What you describe isn’t the norm, around chasing waves or powder—and NORM, but it’s your norm. would date only people who shared Most men temporarily lose interest his passion—you wouldn’t have writ- in sex immediately after climaxing. ten me. Same goes if he were obsessed It’s called the refractory period, and it with pro sports, as so many straight see previous page

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